Resolution is a word that gets more airtime than it should in a world where pocket-money cameras have four times the sharpness of classic cinema. In fact, ending that preoccupation with numbers should go on a list of things we’ll try to do in 2025. A new year’s not-resolution, perhaps.

Here’s a few others.

Take user-generated content more seriously

If you’re perpetually engaged in senior positions on high-end projects at union rates, it’s easy to overlook changes in the wider industry. Of course, a lot of people are conspicuously not in that position at the moment, and there’s a lot of things to blame: the peak and decay of streaming, the hangover of the pandemic, pricy-but-mediocre franchise films and streaming series, and industrial action which, whether we like it or not, certainly kicked an industry when it was down.

The fact that this all happened at the point where user-generated content was ascendant is no coincidence, but certain markets have been able to ignore that reality because YouTube has not so far been capable of funding an Alexa 65 and a set of DNAs. That probably hasn’t changed yet, although some shockingly high-end work is being done. The Dust channel has been putting out user-generated sci-fi for aNo while, and while much of Dust’s output might not quite satisfy Netflix subscribers, it is naive to assume that the status quo is eternal.

Snobbery is involved, though as a business consideration the rise of user-generated content is a question for the c-suite more than camera crews. Other things, though, are more in the hands of the craftspeople.

Recognise production design

Given film is so much a team sport, the lack of communication between departments is often slightly shocking. Perhaps that’s because it is also a very expensive artform, provoking a nervousness which tends to keep people firmly in lane. A film set is a place where it is often better to keep silent and be thought a fool. In the abstract, most people are keenly aware that there is no good cinematography without good production design, but that’s easily forgotten in the midst of pixel peeping the latest camera release (of which more anon).

Sometimes, production design means months of preparation. Sometimes, it just means picking the right time and place. Still, interdepartmental collaboration is sometimes more competitive than it should be. That’s particularly true on less financially replete productions, where it may be accepted that the show will not compete with blockbusters but that nobody wants that outcome to be their fault. So, camera refuses to unbend for the location manager, or vice versa, and the result is unnecessarily compromised.

We could equally assign a couple of new years’ resolutions to other departments, encouraging them to recognise the need to, say, put the camera somewhere it can see both the actors at once. Ultimately, though, we should admit that too many people put too much importance on the camera, and not enough on what’s in front of it.

Be bold

Even lay audiences have started to notice that a certain proportion of mainstream film and TV has adopted a rather cautious approach to high contrast and saturated colour. Some of the accused productions have been comic book or animation adaptations, which probably ought to be the opposite. What’s even more counterintuitive is that this is invariably the product of digital cinematography, which was long held to be lacking in dynamic range – which is the same thing as high in contrast.

Engineers have since given us fifteen-stop cameras, but there seems to be a lasting societal memory of early, less-capable electronic cinematography which makes people afraid of the extremes. It’s at least as likely that fiscal conservatism is leading to artistic conservatism around the sheer cost of nine-figure blockbusters. Nobody ever got in trouble for not crushing the blacks.

The result is an identifiable lack of punch in movies and TV shows that even determinedly nontechnical people are starting to notice. There’s a whole discussion to have about history, how things once looked, and how they look now, but with modern grading we can have anything. The solution is easy, if the producers will stand it: be not afraid of minimum and maximum densities – unless you’re grading for HDR, in which case absolutely be afraid, but that’s another issue.

Stop pixel peeping

And yes, like a lecturing parent frustrated with a chocolate-smeared child’s perpetual tendency to steal cookies, we do have to talk about that obsession with numeric specifications. It is the camera department’s equivalent of bargain vodka. Everyone knows it’s a bad idea, but it starts off fun and we can stop whenever we like. Soon, though, we realise that cameras are now almost too good and pixel peeping has facilitated a generation which thinks that swear-box words like “cinematic” and “painterly” are objectively measurable. Then it turns out that our attractively-priced metaphorical booze was mostly brake fluid, and people end up spending time counting megabits that should have been spent working out a mutually-beneficial compromise with the location manager.

Everyone knows that good equipment is necessary. Everyone knows it isn’t sufficient. Everyone also knows that pixel peeping is a bad habit and complaining about it almost feels redundant. But if we can make 2025 the year when film students use social media to discuss technique more than they discuss technology, that’ll be a minor victory.

Z9 firmware version 5.10 adds a handful of video features many professionals typically expect on a video camera. Nikon added a new [Shutter mode], allowing the user to set the shutter angle to one of 15 steps between 5.6° and 360°. The new shutter mode eliminates the need to select a shutter speed whenever the frame rate is adjusted, allowing users to always achieve optimal motion blur at the desired frame rate.

In addition, users can now change the color of the zebra pattern display and customize the transparency and display position of brightness information displays along with their size, such as the histogram and waveform monitor. Nikon added these capabilities to make video recording easier by allowing users to confirm appropriate exposure, even when recording high-contrast scenes.

Next, Nikon announced that NX MobileAir (Android version) now supports Frame.io, Adobe’s creative collaboration platform, and Camera to Cloud service. NX MobileAir, which enhances the efficiency of professionals’ workflow by providing high-speed image delivery without a computer, will now support video transfer.

This latest version of NX MobileAir will allow users to manually or automatically upload recorded video files to Frame.io, where the video files can be shared with others for real-time cloud collaboration. Additionally, when selecting video files for upload, they can be filtered by rating and/or file format. Support for Frame.io will provide a more efficient workflow by seamlessly connecting the entire video production process, from recording to final delivery. This feature is especially useful when speed is of the essence, such as with live event social media creation as well as news and sports reporting.

The Frame.io feature will be compatible with the Nikon Z9, Z8, and Z6III mirrorless cameras via the NX MobileAir App. In addition, Nikon will continue to provide software updates to satisfy the needs of those involved in video production and to contribute to the development of imaging culture with the hope of further expanding possibilities for imaging expression.

Nikon recently announced the new Z50II, a compact, fully-featured mirrorless camera with an APS-C / DX format. The Z50II is Nikon’s first APS-C / DX format camera to feature the powerful EXPEED 7 processing engine,

found in the pro-grade Nikon Z8 and Z9. The Z50II comes combined with EXPEED 7 processing, allows for blazing fast and precise autofocus, fast frame rates up to 30 fps, superb low-light capabilities, advanced video features, and extensive control of colors.  

Discover Color

The Z50II is the first Nikon camera to feature a dedicated Picture Control button, opening new possibilities for expressive color, with imaginative film-inspired looks. In a single press, a shooter can see in real-time the effects of up to 31 built-in color presets, which instantly change the color, tone and feeling of the scene.

Imaging Recipes can also be directly downloaded to their camera as Cloud Picture Controls directly through the Nikon Imaging Cloud. These recipes are custom presets with changes to color, brightness, hue and more, which have been developed by notable creators. Additionally, users can make their own Imaging Recipes and Flexible Picture Controls for truly limitless creative possibilities. Images can also be sent instantly to a user’s own cloud-based storage using the Nikon Imaging Cloud, or easily share images to a phone with Nikon SnapBridge.

Simply Powerful

The Z50II’s EXPEED 7 processing engine delivers surprisingly powerful performance. Advanced autofocus with nine types of subject detection quickly tracks and locks onto humans, pets, vehicles, and more. The system is precise with the rapid ability to detect and maintaining razor-sharp focus on a subject’s eyes, even as they move. Not only is it powerful, but it’s also smart, simplifying the operation of advanced camera functions. When in AUTO shooting mode, Nikon’s proprietary deep learning technology makes it possible for the camera to analyze and recognize the subject and scene, automatically optimizing autofocus, flash control, and exposure control values such as aperture, shutter speed and ISO sensitivity settings.

Nikon Z50II 4K Video

The Z50II records 4K from an oversampled 5.6K sensor for rich and beautiful details. The camera records in various frame rates and resolutions up to 4K60p, delivering colorful and sharp video with high-quality audio. The Z50II makes it simple to capture high-quality video with a 3.2” vari-angle LCD screen, which helps to keep you and your subjects perfectly in frame, in addition to a video self-timer to begin recording to minimize time spent editing. The Z50II also features a Product Review Mode that focuses on objects in the foreground, which is helpful for products, cosmetics, fashion and beauty reviewers.

The Z50II looks like an affordable way to take advantage of a fast camera for stills and motion with the option ofN-Log video that offers subtle and rich tonal gradation for higher-quality video recording with more exposure latitude for grading. It also has other helpful video features like a tally lamp, waveform monitor, headphone jack and a continuous record time of up to more than 2 hours.

Features of the Nikon Z50II

• 20.9-megapixel APS-C/ DX format sensor lets you capture high quality photos and videos, with gorgeous colors and amazing low light ability. 
• Dedicated Picture Control button allows for one-touch access to inspiring color presets, Imaging Recipes and custom Flexible Picture Controls, all in real-time. 
• EXPEED 7 image processing engine gives users access to powerful features and performance, including an advanced AF system with subject detection and 3D Tracking.
• Bright electronic viewfinder at 1000 cd/m2 (nits), is roughly twice as bright as the one built into the Nikon Z50, allowing users to easily check focus and compose even on the brightest of days.
• Rapid photo burst shooting with up to 30 fps with electronic shutter, or up to 11 fps with the mechanical shutter.  
• Features a Pre-Release Capture function capable of recording images buffered up to one second before the shutter-release button is fully pressed.
• Excellent low light capability produces sharp photos in minimal light with less grain thanks to a wide ISO range from 100–512002.
• Features made for all types of video content creators, such as N-LOG recording, product review mode, waveform monitor, microphone and headphone jacks.
• Built-in flash is useful in backlit situations as a fill-flash or in dark surroundings.
• Hi-Res Zoom3 during video recording, which allows users to zoom in on their subject with no loss in image quality, even when using a prime lens.
• An illuminated REC lamp (tally light) notifies the user and the subject when video recording is in progress.
• Support for USB streaming (UVC/UAC) allows plug and play connectivity for online meetings and live video streaming by simply connecting the camera to a computer or smartphone.
• Equipped with a large and clear 3.2-inch vari-angle monitor with a touch screen for intuitive operation and recording yourself and others.

MC-DC3 Remote Cord

The MC-DC3 is a remote cord compatible with the Z50II and later models equipped with a headphone/remote cord connector (3.5mm jack). The cord is approximately 3.1 ft/ 1m in length. It is useful in minimizing the effects of camera shake when using a tripod to photograph starry skies and nighttime scenes, or with commercial (product) photography. It can also be used for remote photography to release the shutter at a distance from the camera. The shutter-release button can be locked in the fully pressed position for long exposures (bulb shooting) or held down for continuous shooting. It can also be held halfway down for shooting with less release time-lag.

Nikon Z50II Price and Availability

The new Nikon Z50II will be available in late November 2024 for a suggested retail price of $909.95 for the body only. Kit configurations include the NIKKOR Z 16-50mm f/3.5-5.6 VR lens for $1049.95 SRP, or a two-lens kit with the 16-50mm and 50-250mm f/4.5-6.3 VR lenses for $1299.95 SRP. The MC-DC3 Remote Cord is scheduled for release later in 2024, for $36.95 SRP.

The C80 is designed for filmmakers who need a full-frame, professional-grade camera in a compact form factor at an accessible price. In this article, we’ll dive into the technical features of the C80, compare it to the EOS C70 and C400, and discuss why filmmakers should be excited about this new addition to Canon’s lineup.

Key Features of the Canon EOS C80

The Canon EOS C80 introduces several significant upgrades, such as its 6K full-frame, back-illuminated stacked CMOS sensor. This is a leap forward for filmmakers who require high-quality imagery in various lighting conditions. The sensor supports triple-base ISO levels of 800, 3200, and 12,800, maximizing dynamic range and allowing the camera to deliver stunning imagery in both low and bright light.

One of the key technologies featured in the C80 is Canon’s Dual Pixel CMOS Autofocus II. The back-illuminated sensor provides efficient light-capturing and a wider autofocus area, making it especially useful for tracking faces, animals, and objects. The fast readout speed from the 6K sensor also ensures crisp and smooth 4K images from 6K oversampling.

Additionally, the camera includes an SDI output, a notable step up from the C70, which enhances uncompressed video signal transfer with secure cable connections. Connectivity options such as HDMI, mini-XLR audio inputs, Wi-Fi, and Ethernet make it highly versatile for a range of production environments. The internet connectivity also allows for remote camera control via Canon’s IP-based XC Protocol, a crucial feature for multi-camera setups or when the camera is mounted in hard-to-reach places.

For recording, the C80 supports 6K 30P in Cinema RAW Light and includes the XF-AVC codec for 10-bit 4:2:2 recording. It also allows for slow-motion capture at 4K 120P.

Overall, I loved the feel of the C80, reminding me of my tried-and-true C70. With that said, I was really impressed with the visuals and autofocus, bringing everything I loved about the C400’s sensor over into a tighter form factor. Putting it through its paces, I found the camera performed really similarly on all fronts to the C400, including base ISOs and autofocus.

Comparing the EOS C80, C70, and C400

Canon EOS C80 vs. Canon EOS C70
While the C70 is already popular among filmmakers, especially solo shooters, the C80 brings several advancements that differentiate it. Both cameras share the same RF mount, allowing filmmakers to use Canon’s latest RF lenses, which are optimized for full-frame performance. However, the C80’s full-frame sensor and 6K capability give it a significant edge in terms of image quality, especially in demanding environments that require more dynamic range and resolution.

The C80’s 12G-SDI output is another major upgrade over the C70, which lacks this feature. The SDI output is critical for filmmakers who need to send uncompressed video to an external monitor or recording device, particularly in professional environments.

In terms of form factor, the C70’s compact size has been appreciated by run-and-gun filmmakers, and the C80 continues this trend with an equally compact and ergonomic design. However, the C80 has a slight advantage with its enhanced handle assembly and Multi-function Shoe, adding more versatility for rigging the camera.

Canon EOS C80 vs. Canon EOS C400
The C400 is Canon’s higher-end cinema camera, aimed at filmmakers who need a more robust feature set for larger productions. One of the most significant differences between the C80 and the C400 is the maximum resolution. The C400 can record at 6K 60FPS, whereas the C80 is limited to 6K 30FPS. This makes the C400 better suited for projects that require higher frame rates at full resolution, such as fast-paced action sequences or high-end commercial work.

The C400’s boxier form factor is another point of distinction. While the C80 is designed for a more handheld, ergonomic feel, the C400’s box design is better suited for cinema rigs and larger productions.

In terms of price, the C80 is $1,500 cheaper than the C400, making it an attractive option for filmmakers who don’t need all the high-end features of the C400 but still want a high-performing, full-frame cinema camera. Plus, the C80’s release has led to the C70’s price drop, now coming in at $4,499.

Why the Canon EOS C80 is Exciting

There are several reasons why filmmakers should be excited about the Canon EOS C80:

1. Full-Frame and 6K Recording: The full-frame, back-illuminated sensor with 6K recording capability offers filmmakers a level of image quality previously reserved for higher-end cameras. This makes the C80 ideal for everything from indie filmmaking to commercial shoots where image quality is paramount.

2. Affordable Price Point: At $5,499, the C80 delivers many of the features seen in higher-end cinema cameras at a much lower price point. It strikes a balance between professional-grade quality and affordability, making it accessible to a wider range of filmmakers.

3. Compact and Ergonomic Design: The C80’s compact size and lightweight build make it highly versatile for filmmakers who need to be mobile. Whether mounted on a drone or used in handheld setups, the C80’s design allows for a wide range of creative applications.

4. Dual Pixel CMOS Autofocus II: Autofocus is crucial for many solo shooters or documentary filmmakers who need reliable and accurate focus tracking in fast-paced situations. The updated Dual Pixel Autofocus II ensures sharp, consistent focusing across a wide area of the sensor, even in challenging environments.

5. Versatile Connectivity Options: With 12G-SDI, HDMI, Wi-Fi, and Ethernet, the C80 is built to integrate seamlessly into professional workflows. The ability to control the camera remotely via Canon’s XC Protocol further enhances its versatility in multi-camera setups.

Learn more about the…

Canon EOS C70

Canon EOS C80

Canon EOS C400

Clearly, Canon is building around the C400, as the C80 appears to be a near-perfect B Camera compared to the C400.

6K Full-Frame Back-Illuminated Stacked CMOS Sensor

The Canon EOS C80 camera features a 6K full-frame, back-illuminated CMOS sensor with triple-base ISO, allowing the camera to deliver low-light performance in a wide range of lighting conditions. The base ISOs of 800, 3200, and 12,800 maximize the camera’s full dynamic range.

The EOS C80 camera also features Canon’s latest Dual Pixel CMOS Autofocus, Dual Pixel AF II. The back-illuminated stacked sensor’s positioning offers superb light-capturing efficiency, widening the area of the sensor that can be used for autofocusing. The sensor also empowers fast readout speed and 4K image quality from 6K oversampling.

12-G SDI and a Variety of Interfaces

In addition to moving to a full-frame sensor, the EOS C80 camera has also improved over its predecessor by adding 12G-SDI output, which enables the uncompressed transfer of your video signal with a secure cable connection.

The camera’s design includes various other interfaces, including HDMI, mini-XLR audio inputs, time code, built-in Wi-Fi® connectivity, and Ethernet. This internet connectivity enables the camera to be controlled remotely via our IP-based XC Protocol using Canon’s RemoteCamera Control Application (available for free on the Canon USA Website) or our Multi-Camera Control App for iPhone (available for free on the App Store).

Canon EOS C80 Compact Design

The compact and lightweight EOS C80 camera is suitable for drones, gimbals, tripods, or any configuration where compact size and light weight are important. To me, the most likely setup is on a gimbal.

The camera is ergonomically designed with a new, lightweight handle assembly. The Multi-function Shoe is just above the LCD screen, and the joystick controller provides easy control and menu navigation.

Canon EOS C80 Recording Options

The EOS C80 camera can record up to 6K 30P in Cinema RAW Light. Other recording options include our standard XF-AVC codec, which can record in 10-bit 4:2:2 with oversampling from the 6K sensor. Furthermore, autofocus is enabled when recording in slow or fast motion at up to 4K 120P.

Additionally, the EOS C80 camera has two more recording codecs, XF-AVC S and XF-HEVC S. These formats were first introduced with the EOS C400 camera and feature an easy-to-manage naming system and folder structure while recording in the familiar MP4 format and preserving metadata.

Pricing and Availability

The Canon Cinema EOS C80 Full-Frame camera is scheduled to be available in November 2024 for an estimated retail price of around $5,499.00. For more information, please visit www.usa.canon.com.

If you’re just heading out for the day or the weekend, it’s easy enough — throw whatever photographic and video gear you might need in the back of a car. But what if you’re going further, for longer? What if you’re going to be traveling with family? Suddenly, you’ll have to get selective, and the camera in your phone, the camera that’s always in your pocket, becomes pretty tempting. I’ll still use a dedicated camera for client work, because I need control, reliability and the best image possible, but for my own images, things are shifting.

Today, more people than ever are capturing photos and videos, but fewer people than ever are using dedicated cameras to do so. Similarly, more people are consuming photos and videos, but mostly on smaller devices than ever before, where image quality matters less. So what should you do? There are a ton of variables here, including (I’m serious) if you have an Apple Vision Pro or not. This is not clickbait, it’s not an ad for any specific kind of hardware — it’s a guide so you can make your own decision. Let’s dig in with some questions.

Why are you shooting anyway?

In our personal lives, a couple of decades ago, if we were taking photos or shooting videos, we were probably the only people in the room doing so. Cameras were rare, camcorders even rarer, and every moment of our lives was simply not documented with anything like the detail or regularity it is today. We had slide nights, and photo books, but otherwise, we just had our real selves.

Because many people are now exposed to so many images, each photo has, to most people, less value than it once did. Of course, a special video of a now-passed family member is irreplaceable, and personal family photos will always have value that grows with time. But viewers have been spoiled. It’s hard to impress your friends with your great shot of a sunrise, because they’ve seen a thousand great sunrise pics this week. The world doesn’t need more great photos — we’re drowning in them.

I hope you want to take great photos, timelapses or video clips simply because you love it; there aren’t enough eyeballs to consume all these images.

What are you willing to carry?

In the past, I’ve certainly taken more gear that I would today. When the original Blackmagic Cinema Camera was the best video camera I could buy, I lugged it up mountains and elsewhere around Japan, capturing some very nice footage that few other people ever paid attention to.

In 2022, I took my Lumix GH6 to New Zealand, along with a 360° camera and an iPhone 14 Pro Max, to try to capture the amazing landscape as best I could. At the time, the iPhone’s videos couldn’t come close to the monster 6K 4:3 open gate video from the GH6, though the iPhone 15 Pro and Pro Max’s Log videos can get a lot closer if 4K is sufficient. And despite the lower still resolution, the GH6’s still images look better (to me) before processing. The iPhone has the edge in raw resolution, but the default look is still a bit too sharp and contrasty for my tastes.

Although I’ve used this footage professionally and I don’t regret carrying “real” cameras, they weren’t light, and I felt the weight. Just managing to fit all the battery-powered equipment in my carry-on luggage was a non-trivial game of Tetris. Is there a lighter camera out there?

What about a compact travel camera?

Unfortunately this market segment has significantly declined, and today’s travel cameras are a significant step down from today’s pro cameras in terms of sensor size and image quality. As I’m used to the GH6, I don’t want to go backwards by using something worse — and if you have a full-frame camera already, your personal quality bar may already be set higher than mine. Action cameras are great for sports and for timelapses, and they’re certainly not heavy, but their image quality doesn’t surpass a modern phone.

Travel cameras, usually with a small built-in zoom lens, do offer reach, but don’t usually compete with mirrorless in image quality. Matching your current professional lens system makes sense, and I’m lucky being in the Micro Four-Thirds camp from a weight point of view. However, purchasing a smaller camera body to match my existing lenses would be a large investment for a relatively small weight saving.

Another issue with many cameras sitting just under the “pro” category is that they tend not to be weather sealed, and that can be a problem. On a holiday in Taiwan, I took a camera with a non-weather-sealed kit lens (as I thought the reach would be useful) but in the regular drizzle, I barely got to use the camera at all. Professional bodies and zooms tend to be weather sealed, but not all primes are. Beware.

Finally, then: is your phone good enough?

At video editing conferences over the last several years, I’ve often been the only person to bring a dedicated video camera. To be fair, not all editors are also shooters, but I was surprised to hear from colleagues, even pre-pandemic, that for them, a phone was good enough for family photos. To me, a phone was only good enough for photos viewed on a phone, but sub-par for images viewed on a large screen. Phones have improved a lot, but beware of the default settings, which sometimes remove too much noise and add too much sharpening.

The shift of the iPhone 14 Pro Max’s main sensor to 48MP (and the expected upgrade of the 0.5x sensor to 48MP on the iPhone 16 Pro) has absolutely made a difference to how good photos look on a big screen, but detail is not the only reason to carry more than a phone. The core reasons for using a dedicated camera even for holiday snaps remain: changeable and better lenses to let you cope with more extreme situations, swappable batteries and storage, real depth of field, and a cleaner, less processed image. If you can live with the lens selection, everything else can be dealt with.

A few potential solutions

1. If you can’t live with the quality limitations of the built-in Camera app, use third-party apps (like Halide and Kino) to shoot RAW photos and Log videos, avoiding overprocessing.
2. To manage storage, take a pair of SSDs, offload your images each night to both drives, and delete when done. With USB-C on board, you don’t even need a computer to do this.
3. If you find yourself running out of power, pack an external battery. USB-C batteries can recharge most modern devices and make you popular with your travel companions too.

But if you can’t give up the image quality of your professional mirrorless body and its super-shallow depth-of-field, don’t. Maybe you don’t need to buy another body for your current system either — leave your heavy zooms at home, and take a nice prime instead. Walk with your feet, embrace the constraints, and use both devices for what they’re best at.

On my next overseas trip later this year (see you at the Final Cut Pro Creative Summit?) I will need to shoot professional video footage in low-ish light, and a phone alone won’t quite do the job. As a compromise, I’ll be taking my Lumix GH6 with just a 15mm f1.7 Leica prime (943g or 33 ounces), significantly lighter than the same body with my Olympus 12-40 f2.8 zoom (1259g or 44 ounces), and taking up a lot less space.

My GH6 can capture shallow DOF interviews plus clean wide-angle shots in any light if it’s not raining, and my iPhone can handle anything else — panoramas, Spatial Video, ultra-wide angles, selfies, and quick captures when the camera is in a bag.

Why does the Apple Vision Pro matter?

It’s simple — if you don’t have an Apple Vision Pro, you probably don’t have a device which can actually reveal all the pixels in your images or your videos. TVs aren’t going to go past 4K for some time and computer screens have hit the same barriers. Some 6K displays do exist, but they’ve all been more expensive than the Apple Vision Pro — which clearly isn’t cheap — and none of them can present an image anywhere near the apparent size that a headset can. Image quality on a phone is very good these days, but the Apple Vision Pro can show me its flaws, so I’ll still be taking a dedicated camera with me. This will be the case even if the iPhone 16 Pro has a 48MP 0.5x lens (as predicted) because resolution isn’t everything. But every year, as the compromises get smaller, the equation shifts just a little further towards just taking a phone.

Conclusion

Quality matters both more and less than it once did. Because of the quantity of photos we see, fewer people care about quality, but those who do care have better displays than ever to appreciate them. Image quality is still important to many people — including me, and if you’re a video professional, likely you too. So don’t compromise on the look, but also don’t break your back if a client isn’t paying you to capture their images. But it’s still worth taking the best photos you can, with whatever device you use. Eventually, when you do get an Apple Vision Pro 3 or 4 down the line, you’ll really be able to appreciate all those lovely pixels you captured, all those years ago.

The Hollyland Pyro H and Pyro 7 were announced back at NAB 2024 and are now available in the wild.

Let’s start right up front with this: The Pyro 7 is an incredible deal. The price of $549 seems like a typo. For that you get a wireless 4K transmitter/receiver, a 7-inch 1200 nit monitor, MP4 recording to SD, and RTMP streaming. Oh, and a clear line-of-site range of 1300ft.

Hollyland sent us review units to take for a spin and we’ve done just that. Since both systems share the same broadcast technology, we’ve focused on the Pyro 7 unit, using the Pyro H as receiver in out testing.

The Hardware

The unit feels solidly rugged and the metal chassis dissipates heat well. The fan is sufficiently quiet and at least during our testing the unit got no more than comfortably warm to the touch. (There’s an option in the software to choose between “Auto” and “Low” fan speeds. Low at least gives a consistent noise level, which is easier to account for in post.) The connectors seem to be of high quality, with gold plated BNC connectors for the SDI in and out, and as you would expect, the 12V power input includes  a locking thread. (30fps UHD resolution is only supported for HDMI inputs; SDI is limited to 1080 feeds.)

Multiple ¼” mount points will provide plenty of flexibility in mounting the unit to cameras and cages. The SD card slot is on the side of the unit, which could potentially limit access if using the adjacent ¼” mount on that side.

For portable power, the system ships with dual NP-F battery mounts on the back, although Hollyland provides both V-mount and G-mount options.

Two programmable physical function buttons appear at the top right of the unit. The buttons are easy to distinguish in the dark by feel and can be set to one of eighteen functions, including enabling video recording, toggling false color, and taking a screenshot.

To me, the power button at the top is an odd choice. A simple flick of the physical power toggle turns the unit off, corrupting any video recording in-progress on the unit. I would have preferred a digital power button requiring a 3 second hold to power down. I’m sure there was some reasoning behind the hard kill switch (perhaps to shut down broadcast of a wardrobe malfunction?), but I feel it’s a poor choice when combined with the recording functionality.

The 1200 nit display seemed to live up to its promises. I didn’t do any formal color gamut analysis, but the 3D LUTs  showed no signs of banding and the shadow and highlight detail held up well.

All up, this is a robust, well put-together unit, and based on the longevity of my 400S Pro units—battle tested by performance stunt artists on a mocap stage—I expect it will hold up in production.

The Software

Usually when a company offers a budget solution all the money goes into the primary marketing points and usability suffers as a result. In other words, it looks great in the showroom, but falls down when it comes to workflow. I found this not to be the case with the Pyro 7.

The first thing I noticed about the on-screen controls is how effortless the touch system is. Hollyland was clearly careful not to underpower the visual processor. Overlayed scopes drag around the display with no perceivable lag. The layout, while not a reinvention of modern UI (thankfully), is clean and extremely easy to navigate. Each scope can be called and dismissed with a single tap, while a settings button to the right provides instant access to just the right number of controls. This is significantly helped by a 7” screen (Hollyland could have settled on a more budget 5” screen and the UI would have paid the price).

For those of us who rarely work with the same gear for weeks on end, easy discoverability in the UI of production gear is essential. I had initially planned on downloading a copy of the user guide for the Pyro 7, but never found the need; no setting was more than two intuitive taps away.  Case in point: I always prefer a parade scope over a single luminance waveform. A single tap on the Settings button revealed a nice big toggle between Luma and RGB scope.

From left to right, the main touch menu provides instant record, access to playback, waveform, vectorscope, histogram, focus assist, exposure zebra, 3D LUT presets, quick zoom, retical aspect marks for planning for different aspect ratios, rule of thirds crosshatching, anamorphic previewing, mirroring and inversion, and a nice quick overlay with screen grabs for easy line-up of split screen shots etc.

It would have been nice to have a captive portal when connecting to the wifi access point. This was the one thing that required me to download the Quick Start guide. (The guide was included in the packaging, but those guides are quickly lost, and in this case was left in a separate building to the review).

I had some initial minor connection difficulties with the app. After connecting to the Pyro 7’s access point, I had to quit and relaunch the app on my phone before it would register. It’s also a little annoying to have your phone disconnected from the internet in order to access the Pyro 7; I prefer systems where the device’s captive portal is used to connect it to the main external wireless network. I can understand that this opens up potential latency and bandwidth issues beyond Hollyland’s control, but it’s a much more useful option overall.

Because of the exceptional touchscreen the only real need for the app is as a second preview monitor, which in itself can be useful for various production use cases. It also makes for a reasonable use case for the Pyro 7 alone, without purchasing a Pyro receiver to connect to a final recording device or large screen preview monitor.

Wireless performance

Hollyland has built a reputation for being an affordable provider of wireless video solutions. The modern landscape of compact, portable cameras necessitates wireless transmission of the video signal, both for live broadcast, and for relaying data back to a video village. Producing a high quality, high resolution, uninterrupted signal is a major engineering challenge in modern production environments where the air waves are shared with cellular signals, wifi signals, wireless mic signals…the list goes on.

There are several significant factors when evaluating a wireless video system: consistency and reliability, latency, range (distance) of signal, and broadcast frequency support. In our testing we had no issues with consistency and reliability. The units were deployed in a facility that had multiple Wi-Fi networks, wireless audio mics, and cellular hotspots but showed no signs of signal degradation or glitching right up to the units being placed at the very edge of their broadcast range.

Pyro includes auto frequency selection, jumping between 2.4GHz and 5 GHz bands to find the most reliable connection. Though we didn’t test it, the Hollyland transmitters are able to broadcast to up to four Hollyland receivers, in addition to the functionality that allows them to broadcast to smartphones.

While the Pyro 7 can work both as a transmitter and receiver, in our configuration we used it as the monitor-on-camera for a Blackmagic Micro 4K (which lacks any built-in monitor or viewfinder) and then transmitted from the Pyro 7 to a receiver. The range itself was much better than we were expecting. The 1,300 ft transmission range is for line-of-site connection, but we were able to transmit through two very thick concrete walls to a room about 200 ft away from the camera without signal loss.

To get an even further run into a complex of buildings, we were able to successfully gang a Pyro H transmitter and receiver together (HDMI out of the receiver into the HDMI in of the transmitter) to repeat the signal on a different channel and effectively double the range of transmission. Obviously this introduces additional latency, but this could be a perfect solution for houses of worship renting temporary spaces where setup and tear down every Sunday prevents permanent wiring.

As for latency, the Pyro series produces a 50-60ms delay in the signal. This makes it perfect for most monitoring and broadcast scenarios. You’re not going to use it to broadcast an on-stage camera feed at a rock concert to the live mixer; there are near-zero latency devices to do that for several thousand dollars more. I’ve used Hollyland for facial mocap relay for some time now, and with embedded timecode (via Deity or Tentacle) the latency is predictable and very manageable. Certainly for video village and online streaming, a 50-60 ms delay doesn’t pose a problem.

Conclusion

The Pyro 7 is an amazing deal for anyone looking for a monitor with built-in wireless transmission or reception. I would argue that at the pricepoint of $549, the Pyro 7 would be a compelling video assist device even without its wireless transmission capabilities. Add the broadcast features, and I can’t see a reason why anyone would settle for any other form of monitoring in this form factor.

Video Breakdown: https://youtu.be/xHkhSBhVVW

Rolling Shutter: The Industry Standard

Rolling shutters are ubiquitous in many of today’s digital cameras. This type of shutter captures an image by scanning across the sensor, typically from top to bottom. This means that different parts of the image are recorded at slightly different times, leading to what is known as rolling shutter artifacts.

Rolling shutter artifacts can manifest in several ways. The most common issues include:

1. Skewed Vertical Lines: When panning the camera quickly, vertical lines in the scene can appear slanted.
2. Wobble (Jello Effect): Handheld shots can display a wobbling effect, where the image seems to ripple.
3. Partial Exposure: In scenes with high-speed lighting changes, such as strobe lights or camera flashes, the image may only capture partial exposure, leading to inconsistent lighting across the frame.

Despite these potential drawbacks, rolling shutters remain popular due to their cost-effectiveness and the advancements in software correction that can mitigate some of these issues. Many filmmakers have adapted their techniques to work within the constraints of rolling shutters, but the limitations are still a significant consideration, particularly in high-stakes, high-speed filming environments.

Global Shutter: Precision and Clarity

In contrast, global shutters offer a different approach. A global shutter captures the entire image at once, with every pixel on the sensor exposed to light simultaneously. This method eliminates the distortion and artifacts associated with rolling shutters, providing a clear, undistorted image even during rapid motion or sudden light changes.

The benefits of global shutters are particularly evident in scenarios requiring high precision:

1. High-Speed Action Scenes: Fast-moving subjects are captured with clarity, free from the distortions that can plague rolling shutters.
2. VFX Work: Visual effects require clean, undistorted frames for accurate integration of CGI elements.
3. Strobe and Flash Lighting: Consistent exposure across the frame is crucial for scenes involving rapid lighting changes.

The superior image quality and reliability of global shutters make them a vital tool for filmmakers pushing the boundaries of what is possible in cinema.

The Role of Shutters in Virtual Production

Virtual production, a technique that combines real-time computer graphics with live-action footage, relies heavily on precise camera tracking and synchronization with LED screens. This technology has revolutionized the filmmaking process, allowing for real-time visualization and integration of virtual environments.

However, the success of virtual production hinges on the camera’s ability to deliver consistent and accurate images. Rolling shutter artifacts can interfere with this process, causing mismatched visuals and tracking errors. These artifacts can disrupt the seamless integration of real and virtual elements, leading to visual inconsistencies that can break the audience’s immersion.

Global shutters, with their ability to capture distortion-free frames, provide the accuracy and consistency required for virtual production. By eliminating rolling shutter artifacts, global shutters ensure that the visuals remain perfectly synchronized, allowing for a more seamless and immersive filmmaking experience.

Choosing the Right Shutter for Your Production

When deciding between rolling and global shutters, filmmakers must consider the specific needs of their production. Rolling shutters are more common and cost-effective, making them suitable for a wide range of applications. However, for projects that demand the highest level of precision and image quality, especially those involving high-speed action, visual effects, or virtual production, global shutters are the preferred choice.

The decision ultimately comes down to balancing cost with the need for image quality and reliability. As technology advances, the gap between rolling and global shutters may continue to narrow, but for now, understanding the strengths and limitations of each is crucial for making informed choices in cinematography.

What do you think? Would you consider spending the extra money for a global shutter in your next camera?

Today, Blackmagic Design announced a new firmware for their popular Camera app. Blackmagic Camera for iOS 2.0 adds support for remotely controlling and monitoring multiple iPhones at the same time. This means your iPhone can be set up as a controller so phones running Blackmagic Camera can be securely connected using a wired or wifi network. This lets you view all your cameras in a multi-view, allowing you to monitor and control things like zoom, focus, white balance, frame rate, shutter angle, or lens selection on an individual camera or adjust all connected cameras at the same time. It also enables you to synchronize all your cameras so they start and stop recording at the same time.

This update also adds support for Apple Silicon-based iPad Pros, allowing you to use the iPad as a camera or as a controller. When used as a controller, the iPad’s larger display makes it easier to monitor multiple cameras in a multi-view setup with up to nine cameras on screen at a time or scroll through each individual camera.

The push to create and support camera apps for professional use heats up between Blackmagic Design and its competitors. As a multi-cam interview shooter, I just wish this technology would land in their new cameras, too. I’d love to have an iPad app allowing me to view and sync multiple Blackmagic Design Cameras, not a phone, without the need to buy and set up an ATEM Switcher.

It seems to me the tech isn’t too far off for Blackmagic Design, considering they have the really good Blackmagic Cloud Live Sync. It seems to me if Blackmagic’s latest cameras, such as the Cinema Camera 6K, PYXIS, URSA Cine, and URSA Broadcast G2, can sync and send proxy footage to a workstation off site, then we should be able to get a camera app capable of monitoring and controlling their cameras in a group.

This is an in-depth breakdown, if you want to learn the basics of the Canon EOS C400, check out this article.

For our visual learners, here’s our Deep Dive video, but be sure to read the full article for more key info:

Now let’s get into it.

1. Triple Base ISO 

The biggest innovation of this camera is an industry-first Triple Base ISO at 800, 3200, and 12,800 ISO. We tested these ISO’s to monitor noise, as well as some other functionalities like ND and Autofocus.

I found the noise levels were extremely similar at each base ISO, and couldn’t tell a real difference between the three when reviewing the footage. I also tested the internal NDs (2, 4 & 6 stops) for any light pollution or color shift, but I didn’t see any problems shooting inside or outside.

I think they chose great base ISO options, and I hope other companies take notice. I’ve found on other cameras with dual-base ISO that the two bases are so far apart that I’m having to make a lot of other adjustments to accommodate the switch. This range feels perfect and compliments the NDs well.

While I’m super impressed by the low-light functionalities, the autofocus was struggling when in suboptimal lighting conditions, as with nearly all other cameras. Most of our tests with the subject 3+ stops under-exposed saw the camera struggling to recognize faces, eyes, and moving subjects.

    2. Autofocus

Despite this small aforementioned downside, the autofocus blew me away in almost every other category. This is hands-down the best autofocus I’ve seen out of any Canon camera. The eye lock is sharp and the camera does a great job hitting focus points smoothly for a really pleasant and usable final result. 

The system is super intelligent and intuitive, surprising me with results I wasn’t even expecting. It can catch the back of the head, faces through mirrors & windows, and it is intuitive if the face is temporarily obstructed. While playing with another model at Cinegear, I noticed it eye-locked on a woman through her semi-opaque sunglasses, which was supremely impressive.

Once we receive a final model we’ll do further testing on animals. We did notice the system struggled with birds specifically, even when set to “Animal” AF mode. We weren’t able to get it to lock on to any birds in our parking lot.

I was most impressed by the AF object detection, it did a great job following objects in motion and hitting different focus areas that I wanted without me having to rack focus or tell it what to select. We did some tests hitting golf balls, the the system intuitively understood what to focus on, and stopped its rack when the ball hit its target.

Canon stepped it up and I’m hoping this autofocus system can get implemented across the board on all their cameras.

     3. Slow Motion

In 6K RAW we’ll get up to 60fps with the new Autofocus system. Once you go past 60fps in any codec, you lose the upgraded autofocus, which is a bummer but understandable. We did some tests at other frame rates with lower resolution and were reassured by some really solid options. We got 120 fps in 4k and 180 fps in 2k. All of the lower-res footage turned out nice, and it’s great to have it as an option in a pinch. If I needed something slower than 120 in 4k, I’d probably reach for a specialty slow-motion camera.

As a long-time Canon user, the C400 feels like a culmination of years of hard work and staying on the bleeding edge of camera technology. Canon is driving the market forward by listening to their customer needs and creating an ergonomic, accessible camera packed full of new tech. At $7,999 this camera is priced competitively and should make a major splash in the marketplace, having great bang for its buck, especially when compared to the rest of the EOS Cinema line.

But what do you think? Drop a comment below on your initial reaction and what you’d like to see us test out when we receive a production model.

You can Pre-Order the Canon EOS C400 through Filmtools here. The camera is scheduled to be available in September 2024.

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