Sony just announced several new products including the FE 70-200mm f/4 Macro G OSS II lens, the a6700—its latest APS-C mirrorless camera—and the Sony ECM-M1 Compact Camera-Mount Digital Shotgun Microphone. All three should be available in August but we got a sneak peek to share with you ahead of shipping.  

Sony FE 70-200mm f/4 G OSS II 

Most photographers (at least those we know) are more likely to upgrade their cameras before they replace a lens, especially one of their workhorse staples like the 70-200mm zoom. But it looks like Sony made updates on this new model that might entice some to change that behavior. 

Although not the top of the list when it comes to the update, size and weight is always a concern so it’s important to note that the lens is more compact and lighter than its predecessor. It weighs about 1.75 pounds and measures 3 1/4 x 5 7/8 inches (when the zoom is not extended).  

Autofocus performance has been improved with about a 20% increase in speed thanks to the new AF system which includes four XD linear motors. The lens will track while zooming, and if you’re looking for some super-telephoto reach, you can add a x1.4 or x2.0 teleconverter. 

Wedding photographers will especially appreciate this lens’ macro capabilities when shooting details of décor, bridal dresses, etc. The new lens brings the minimum focusing distance to 3.5 inches (at 70mm) and adds an impressive maximum magnification of 0.5x throughout the zoom range, so you can easily capture those detail shots without switching lenses. A special macro focus limiter in the lens body helps lock in the shot quickly and efficiently. 

For more technical details, head over to electronics.sony.com. The lens is slated to ship in August for $1,700. 

Sony a6700 

The follow up to Sony’s popular APS-C a6600, the new model has gotten a boost with features from the a7R V, the FX30 and the ZV1 including a back-side illuminated sensor and a dedicated AI Processor. The latter is responsible for improved Real Time Recognition AF which helps detect humans by more than just faces. This “human pose estimation” takes into account such elements as hands, feet, etc. to focus in on people.  

Five-axis in-body image stabilization is available, and for videographers, there’s AI-based auto-framing that, when enabled, helps select what the camera thinks is a more visually pleasing composition—tracking a recognized subject or one that you select. You can use this feature to pan as well. It’s an interesting feature if you’re willing to let the camera make decisions for you. It’s worth trying in different scenarios to get a sense of how it works.  

Lots of other features—for both still and video—(some of which comes from its full-frame siblings) make this camera enticing for anyone who wants a compact APS-C camera. But check out the full specs on the Sony site for some potential drawbacks like single SD card slot and no external output.  

The camera will be available body-only or in two kits in August starting at $1,400 (body only). 

Sony ECM-M1 Compact Camera-Mount Digital Shotgun Microphone 

Videographers take note: This little accessory is convenient to use on compatible cameras via the Multi Interface Shoe since this cable-less connection directly provides power and the audio signal goes straight to the camera. (The mic will also work with analog interfaces by flipping a switch.) 

Perhaps the most notable feature is the ECM-M1’s eight audio recording modes—a first in shotgun microphones, according to Sony. Thanks to its new mode dial, the microphone is easy to use. Lots of other cool audio tech is involved so head over to electronics.sony.com to get the full scoop. 

The ECM-M1 is scheduled to ship in August for $350. 

The post A Trio of Announcements from Sony  appeared first on Rangefinder.

Just in time for this year’s NAB, Adobe announced some updates to Premiere Pro—the software that was used to edit 2023 Oscar-winning films such as Best Picture winner Everything Everywhere All at Once (which racked up a total of seven Oscars including Best Editing and Best Documentary Feature, Navalny). And while you may not have Oscar aspirations, Premiere Pro has added new features and performance improvement that will enhance your video workflow regardless of your video genre.  

Text-Based Editing 

First up is text-based editing. According to Adobe, Premiere Pro is the only professional NLE with integrated text-based editing. Thanks to Adobe’s AI-powered Sensei, Premiere Pro can automatically transcribe the spoken word from the footage. The transcribed dialogue appears in a separate window identifying each speaker (you can manually apply names to the different speakers). Keywords will locate all the clips in which those words appear—a far faster process than having dialogue transcribed, printed out and highlighted by hand. Copy and paste the transcript onto the timeline and both the clip and the transcript are exactly where you need them to be. Edit the clip on the timeline and the transcript will follow suit. It’s a speedy and efficient process for making a rough cut. 

The demo I saw used two speakers in an interview setting, and that’s probably the best application of this feature. We’re not sure if the transcription will work as well if you’re recording, say, a wedding ceremony, but it might be helpful when putting together guests making toasts at a wedding—or any event where the voices might be more easily differentiated. Using keywords, the transcript will be more easily located during the editing process. Adding captions, which will appear in the timeline, is one-click simple.  

Text-based editing is currently in public Beta but should be available in May. 

Automatic Tone Mapping/Color Management 

Many photographers are more likely to be using two or more digital capture devices such as a still camera, iPhone, drone or a cinema camera to record a series of clips that will be combined into a final video. That means that you’ll likely have HDR footage from an iPhone on the same SDR (standard dynamic range) timeline. Footage from an iPhone or drone may blow out highlights, for example. And if you’re shooting in a venue with windows, it’s important to ensure that the view through the window isn’t washed out. Premiere Pro’s Automatic Tone Mapping feature is on by default and works well (and quickly) to recover highlight details that were missing. It’s also easy to balance clips from different sources. 

Similar challenges arise when footage is shot on different devices that use different color space. The current solution is using LUTs—which can be time-consuming and, for those without experience in this type of color management, a major headache. Premiere Pro’s new color management workflow (which shipped in February) is another automatic process that will fix mixed color space issues. All you have to do is change the default from importing native color spaces to the automatic option and you’re good to go. While the demos I’ve seen are optimized to show off the new features, I have to say I was impressed. Anything that can make video editing speedier and simpler is a big plus. 

Miscellaneous Updates 

There’s a long list of updates that contribute to Adobe’s “Quality, stability and performance” goal for Premiere Pro. According to Francis Crossman, Sr. Product Manager, “This is the most stable and the fastest version of Premiere Pro that we’ve ever shipped.” Of course, that’s something that can’t be experienced over a Zoom briefing but it sounds plausible given the updates. 

Various other updates include background auto-save, system reset options to clear caches, wipe preferences and troubleshoot plug-ins. You’ll also find more zoom levels, ProRes render previews and AAF support of Apple Silicon. And, yes, more GPU acceleration. Some features have shipped, some are in public Beta and others are shipping in the spring. 

For more details on these—and other—updates, visit www.adobe.com. 

The post ADOBE UPDATES PREMIERE PRO   appeared first on Rangefinder.

If you looked inside the camera bag of a filmmaker, what would you see? We recently asked some professionals to give us a peek inside what they carry for our current series, What’s Inside My Camera Bag. This week, filmmaker Jordan Bunch—a Lumix Global Ambassador and speaker at WPPI this month—reveals the gear he carries with him on documentary shoots. 

Cameras 

When asked about what cameras he keeps in his bag, Jordan notes, “I want all of my cameras to match, so I use three Lumix S1H cameras.” When he needs a supplement, Jordan uses the DJI Mavic Air 2 Drone.

Lenses

As for lenses, filmmaker Jordan remains brand loyal to Lumix, carrying six of the following lenses with him on shoots: 

• Lumix S Pro 24-105 f/4 (2) 
• Lumix S Pro 70-200 f/4 (2) 
• Lumix S 85mm f/1.8 
• Lumix S Pro 50mm f/1.4 

Lighting 

Depending on location, lighting can vary drastically. And in documentaries, proper lighting is essential to setting the correct mood for the entire film. Jordan’s camera bag contains three major players: Nanlight, Fotodiox, and Godox. If you were impressed with the lenses he carries, wait until you see his lighting inventory: 

• Nanlite Forza 500 
• Nanlite Tube RBG Light (2) 
• Fotodiox 18×18 Flapjack (2) 
• Fotodiox Jupiter 18 
• Godox SJ200 (2) 
• Godox SL60 (2) 

Accessories 

We could award Jordan with the title “King of Filmmaking Accessories” and we would not be exaggerating. Amongst his list of awesome accessories are three Sirui tripods, two small HD monitors and one DJI Ronin S Gimbal. 

• SmallRig cage 
• Small HD monitor (2) 
• Black Pro-Mist 1/4 filter (3) 
• Impact C-Stand (4) 
• C10 CheetahStand (4) 
• Sirui Tripod (3) 
• Sirui Monopod (2) 
• DJI Ronin S Gimbal 

Miscellaneous 

They say the devil is in the details, but we think that Jordan might have the upper hand with the miscellaneous details in his camera bag. And what’s a filmmaker to do without a clapperboard, power strips, and gaffer tape?  

• Gaffer tape  
• Power strips  
• Clapperboard with a dry erase marker  
• Clipboard  
• Notebook and pens  
• Release forms for model(s) and location(s)  

Audio 

Unless it’s a silent film, high-quality audio is imperative to understanding and enjoying any film. This is especially the case with documentaries, where audio is often used to convey the main takeaways of the films. Jordan’s camera bag contains the Lumix XLR-1, Zoom H6, two Rode NTG3s—just to name a few.   

• Lumix XLR-1  
• Sound Devices MixPre 6ii  
• Zoom H6  
• Rode NTG3 (2) 
• Boom poles  
• Sennheiser AVX lavs  
• Rode Blimps (2) 

We hope you enjoyed our seventh installment of the What’s Inside My Camera Bag 2021 series featuring filmmaker Jordan Bunch. What’s inside your camera bag? Shoot us a tweet and let us know!  

The post What’s Inside My Camera Bag: Filmmaker Jordan Bunch’s Go-To Gear for Documentary Shoots appeared first on Rangefinder.

Updated 12/7/21: Sony has suspended orders for the ZV-E10, due to, it says on its site, “the effects of global semiconductor shortages. We will suspend the acceptance of orders from our distributors and customers at the Sony store as follows for specific models with tight supply. Regarding the resumption of order acceptance, we will consider it while observing the status of parts supply, and will inform you separately on the product information page.”

Sony is continuing its march forward with mirrorless cameras made for video first and photos second—and this time, with interchangeable lenses and a larger sensor. Announced on Tuesday, July 27, Sony’s ZV-E10 is an E-mount vlogging system with an APS-C sensor and tools designed to simplify video. This is the company’s second camera focused on vlogging, and the first interchangeable lens vlogging outfit from Sony’s new ZV line. The camera is both a budget-friendly option and a system that could lead some new videographers to grow into Sony’s full-frame Alpha system.

On the heels of the one-inch sensor, attached lens ZV-1, Sony’s new ZV-E10 advances the company’s young vlogging line with a larger sensor and E-mount lens compatibility. The APS-C sensor is a 24.2 megapixel job that offers 4K at 24 fps or 30 fps.

While the announcement moves the vlogging line into interchangeable lenses, the Sony ZV-E10 is still very much made for beginners. The Background Defocus button, part of the ZV-1, is intact on this model as well. The button switches from a clear background to a blurred background with one press. It’s a way to blur the background without learning aperture, since the camera does it for you at the press of a button.

[Read: The Sony ZV-1: V is for Vlogging]

The camera also has a new product showcase option. This feature allows users to switch the focus from a face to the product in the hands with a press of the button. Face priority AE is another newbie-friendly mode that keeps the face well-exposed as the scene changes. But, Sony says the camera still includes autofocus technology from the company’s other mirrorless models, giving the camera real-time tracking.

The camera lacks in-body stabilization, however. Thankfully, the kit lens has optical stabilization to help compensate for movement. But, stabilization isn’t built into every lens and the ones that have it tend to be more expensive.

[Read: 6 Must-Have Tools for Portrait and Fashion Photographers]

The beginner-friendly features are wrapped up in a body that weighs only 12 ounces. The controls are much more minimal than Sony’s mirrorless cameras made for stills, with a single control dial and a few shortcut buttons at the top of the camera. While an interchangeable lens camera, it will feel a bit more like a point-and-shoot with the zoom rocker around the shutter release that’s compatible with some power zoom lenses.

The body also houses a 3-way on-camera mic and an included “dead cat” wind screen. A hot shoe mount allows for add-on mics and lights. Ports at the side include a mic, headphone jack, micro HDMI, and a USB-C, the latter allowing livestreams and webcams with just the included cable.

The LCD screen flips out to the side away from the camera. And, of course, as a vlogging camera, will flip all the way forward. The interface also sees a few tweaks, including a red frame that indicates when the camera is recording.

If the beginner-friendly features aren’t enough, the price may seal the deal. The Sony ZV-E10 will list for $699 body only or $799 with a 15-50mm kit lens. With the fixed lens, one-inch sensor ZV-1 selling for $750, getting that larger sensor and the ability to swap lenses may be a no-brainer for many.

The post Sony’s ZV-E10: An Affordable E-Mount System for Vloggers appeared first on Rangefinder.

Designed as a grip for vloggers as well as a wireless triggering system for still photo and video operations, Sony’s GP-VPT2BT Shooting Grip with Wireless Remote Commander has Bluetooth access and a built-in tripod to give one-handed fingertip controls for photography and video.

It will be available at the end of January for $140.

Aimed squarely at vloggers, it can switch from a normal shooting mode to a selfie-angle. It has an indicator light to let you know that video is being captured.

With tilt and vertical angle adjustments and locks, the cable-free GP-VPT2BT Shooting Grip attaches directly to the tripod mount.

The C1 button can be programmed for favored settings. It’s also resistant to moisture and dust.

Communicating through Bluetooth, the GP-VPT2BT Shooting Grip is compatible with the Sony Alpha 9 II, Alpha 9, Alpha 7R IV, Alpha 7R III, Alpha 7 III, Alpha 6600, Alpha 6400, Alpha 6100, RX100 VII and RX0 II models.

Sony sent us this regarding the required firmware: “ILCE-9 requires firmware v6.0; ILCE-7M3/ILCE-7RM3 require firmware v3.0 or newer; ILCE6400 requires firmware v2.0 or newer.  ILCE-9M2, ILCE-7RM4, ILCE-6600, ILCE-6100, RX100M7 require no update.”

Find Windows updates here and their firmwares for Macs here.

The post The Sony GP-VPT2BT Wireless Shooting Grip appeared first on Rangefinder.

Filmmaking Gear

Editor’s Choice: Atomos Shinobi 

The company’s first standalone small monitor, the 5-inch Shinobi boasts a 5-inch, full HD resolution display with 447ppi. With a brightness of 1,000 nits, the Shinobi is capable of reproducing HDR video and is viewable even in bright sunlight. You can connect the Shinobi to your camera via HDMI and access a raft of composition tools including focus peaking, 4:1, 2:1 and 1:1 zooming, zebra stripes, waveforms, RGB parade and vectorscopes. The Shinobi marks the debut of a new Atomos Analysis View, which simultaneously displays a live-view preview of your scene alongside a waveform, histogram and vectorscope, ensuring complete control of your image. The monitor is capable of displaying DCI 4K up to 30p, UltraHD video up to 30p and full HD at 60p. You can load 3D
LUTs onto the Shinobi using an SD card.

Price: $299
atomos.com

[Being a One-Person Superstar Film Team at a Wedding]

Zhiyun Crane M2

The M2 can be remotely controlled via Wi-Fi or Bluetooth and features a battery life of up to eight hours. There’s an OLED display to read out settings and remaining battery life, plus several dedicated shooting modes. In addition to your basic pan, tilt and follow modes, there’s a Full Range POV setting that enables 360-degree movement on all three axes. A Vortex mode creates 360-degree barrel shots while a Go mode enables fast panning and tilting to follow the action.

Price: $269
zhiyun-tech.com

[What Does It Really Take To Photograph Adventure Elopements?]

TV Logic F-7H mk2 Monitor

Ideal for still or video shoots under bright lights, the F-7H mk2 monitor has a 7-inch full HD display with a maximum brightness of 3,600 nits. For those shooting HDR video, the monitor supports several HDR emulations including PQ, HLG and Slog3. There are both HDMI and 3G-SGI inputs and four programmable preset keys on the front of the display for quick access to frequently used settings. The unit is equipped with an anti-glare film and a new sharpness and peaking boost function to help confirm focus. It runs off of V-mount or Gold-mount batteries and has a D-tap connector for other power sources.

Price: $2,295
tvlogic.tv

[The Latest and Greatest Continuous Lights and Strobes]

Benro 3XM

This three-axis gimbal supports 360-degree rotation across all of its axes. Its swivel handle design lets you position in the camera upright or at a low angle, depending on your shooting needs. It can hold up to 3.9 pounds of camera gear with a battery life of 12 hours. Shooting modes include a universal follow mode for circling a subject, a horizontal follow mode to replicate jib/slider movement and a locked down mode for panning shots. There are cables for Sony and Panasonic cameras so you can remotely control select settings on those cameras.

Price: $399
benrogear.com

[Cameras and Lenses For All You Medium-Format Shooters Out There]

Ronin-SC

The Ronin-S Compact (or SC) is a three-axis gimbal designed for mirrorless cameras. It’s a lighter version of the original Ronin-S, weighing 2.4 pounds (41 percent leaner than the S). It can hold up to 4.4 pounds of gear with a battery good for 11 hours of operation. There’s a dedicated joystick and a mode button to control gimbal movement. It can be disassembled for transport. The Ronin-SC adds several features not included on the S including three-axis locks on the pan, tilt and roll axis to simplify balancing. There’s also a new position lock system that DJI says makes remounting a camera faster.

Price: $439
dji.com

[The Ultimate Guide to Mirrorless Cameras and Lenses]

Video Cameras

Editor’s Choice: DJI Osmo Action Camera

This GoPro competitor has a few novel features to set it apart from the pack, including both front- and rear-facing color displays (the rear is a touch display; the front isn’t) and a SnapShot mode that immediately activates camera recording by pressing the shutter once when the camera is powered off. DJI’s “RockSteady” stabilizer works on full-resolution video to keep it silky smooth. Beyond that, the Osmo records 4K video at up to 60p with a bit rate of 100Mbps. You can record HDR 4K at up to 30 fps to coax out three more stops of dynamic range than non-HDR video.

Price: $349
dji.com

[Top Action Cameras and VR Cameras for Immersive Filmmaking]

Canon XA55

The XA55 records 4K/30p video via a 1-inch CMOS sensor. There’s a built-in 15x zoom (25.5-382.5mm, f/2.8-4.5 equivalent) with optical image stabilization and a 3-inch display alongside a .24-inch EVF. It uses Canon’s Dual Pixel CMOS AF autofocusing system covering 80 percent of the sensor. A Wide DR Gamma mode helps boost dynamic range by up to 800 percent. Footage is saved to a pair of SD card slots and there are two XLR terminals for adding high-quality mics.

Price: $2,699
usa.canon.com

[How to Capture Killer Audio in Wedding Films]

Sony RX0 II

The RX0 II sports a 1-inch, 15-megapixel Exmor RS CMOS image sensor capable of internal 4K video recording (3840 x 2160) at 30p with full pixel readout and no pixel binning. The camera can also record full HD at up to 120p or snap 15-megapixel still images. There are several slow-motion options as well for pushing frame rates from 240 to 960 fps. The RX0 II delivers an ISO range of 80 to 12,800. It’s fronted by a 24mm f/4 Zeiss Tessar T* lens that can focus on objects as close as 7.8 inches.

Price: $700
sony.com

[5 Amazing DSLR Lenses]

Ricoh Theta Z1

The Z1 features a 1-inch, backside-illuminated sensor capable of recording a 23-megapixel, 360-degree image. Aside from the larger sensor, Ricoh has added several new features to the Theta lineup including Aperture Priority mode (with three options f/2.1, 3.5 and 5.6), DNG format support and three-axis rotational stabilization. Also new is a .93-inch status display and a customizable function button. The Z1 can record 4K 360-degree video and sports a redesigned image-processing algorithm for sharper images. The camera now automatically applies dynamic range compensation to images.

Price: $1,000
us.ricoh-imaging.com

[16 Software Editing Programs for Every Skill Level]

Blackmagic Design Pocket Cinema Camera 6K

The 6K version of the Pocket Cinema Camera features a larger, Super 35mm-sized sensor than its 4K predecessor, plus an EF lens mount. The camera delivers 13 stops of dynamic range and supports two native ISOs up to a top sensitivity of 25,600. It records at 6144 x 3456 at 50 fps in the 16:9 aspect ratio or at 60 fps in the 2.4:1 aspect. You can hit faster frame rates by cropping the lenses and use anamorphic lenses to record 3.7K footage.

Price: $2,495
blackmagicdesign.com

[Powerful Storytelling Techniques in Wedding Filmmaking]

Panasonic AG-CX350

Capable of recording 4K resolution at 10-bit or live-streaming over Facebook, YouTube and others, the CX350 features a 1-inch CMOS image sensor and a built-in 24.5-490mm (equivalent) lens. The lens is optically stabilized with a three-stop ND filter and an IR filter. You can control the camera via a free app (in fact, you can control eight CX350s from a single app) and output an HD video signal at 10-bit, 4:2:2 via HDMI. You’ll frame your scene through a 3.2-inch display or a high-res OLED EVF.

Price: $3,695
shop.panasonic.com

[10 Questions for Video Marketing Expert Anesha Collins]

The post 10 New Pieces of Gear for Filmmakers appeared first on Rangefinder.

For the last three years, Love Stories TV­—av ideo platform for wedding ideas and inspiration that boasts 300 million monthly views across its sites and social channels—has been hosting its annual Wedding Film Awards. Of the tens of thousands of real wedding videos published on lovestoriestv.com, just 11 were voted by the Love Stories TV filmmaker community to be the best of the year. 

“Love Stories TV was created because we believe wedding films are magical and deserve to be seen,” says founder and CEO Rachel Jo Silver. “Wedding films capture movement and sound and the touching moments when the magic happens. Each year, we honor the incredible work being done by the filmmakers who publish their work on lovestoriestv.com.”

She continues: “Winning a Love Stories TV Wedding Film Award can jump-start a filmmaker’s career and connect winners to new and exciting opportunities.” This years top categories and award-winners are as follows:

1. Filmmaker of the Year: Sculpting With Time

2. Film of the Year: Rob and Leslie, Nashville, Tennessee, by KLassey Productions

3. Best Elopement or Destination Wedding Film: Danielle & Adam, Apulia, Italy, by Sculpting With Time

4. Most Emotional Moment in a Wedding Film: Chris & Mariah, Maui, Hawaii, by A Little Long Distance

5. Best Proposal or Engagement Film: Bobby & Andrea, Antigua Guatemala, by Auguro Weddings

6. Best Storytelling in a Wedding Film: Jillian & Tom, Joshua Tree, California, by The Brothers Martens

7. Most Creative Use of Cinematography: Brittany & Darryl, Austin, Texas, by The Brothers Martens

8. Best Dress Shot in a Wedding Film: Megan & Jade, Yucca Valley, California, by Jay and Mack FIlms

9. Most Epic Venue in a Wedding Film: Mia & Joey, Yosemite West, California, by The Quail & The Dove

10. People’s Choice: Mayank & Ankita, Gujarat, India, by Aarya Wedding FIlms

11. Best Use of Music: Gather & Tailor, Victoria, Australia, by Bottlebrush Films 

Related: Why Mobile Shooting Isn’t a Threat to the Photo Industry

Leveling the Playing Field as a Female Filmmaker

Powerful Storytelling Techniques in Wedding Filmmaking

The post Announcing the Winners of Love Stories TV’s Wedding Film Awards appeared first on Rangefinder.

Editor’s Choice! Panasonic GH5S

The GH5S truly blurs the distinction between a cinema camera and a traditional mirrorless. Though its 10-megapixel image sensor won’t please the pixel peepers, it offers Dual Native ISO Technology for optimized low light performance and dynamic range. It can focus in lighting as dark as -5EV and delivers 4K/60p recording (4096 x 2160), a new benchmark for mirrorless cameras. You can also record 4K/30p at 10-bit, 4:2:2 in camera—another mirrorless milestone. Full HD video can be captured at a motion-slowing 240 fps.

Price: $2,300
shop.panasonic.com

Removu K1

The K1 is based on a concept first pioneered by the DJI OSMO, integrating a camera and a three-axis gimbal stabilizer into one. The K1 goes one further by adding an integrated 1.5-inch LCD display so you can preview and play back your footage directly on the gimbal and not fumble around with a smartphone clipped to the gimbal. The K1 features a fixed f/2.8 wide-angle lens, records 4K video at 30 fps and snaps 12-megapixel still images. Slow-motion fans can record full HD at 120 fps.

Price: $429
removu.com

GoPro Hero

A budget-friendly addition to GoPro’s Hero stable, this action cam records 1440p and 1080p footage at 60 fps. It can snap 10-megapixel still images and burst at up to 10 fps. It also features voice control, like its pricier Hero brethren. The Hero sports a 2-inch touch display and is waterproof without a housing to a depth of 33 feet. There’s electronic image stabilization, plus support for stereo audio recording. While the Hero doesn’t have ProTune exposure controls, it does offer Wi-Fi and Bluetooth for wirelessly offloading your action footage.

Price: $200
gopro.com

Canon XA15

Packing a built-in 26.8-576mm optical zoom lens, this full HD video camera features a wide dynamic range mode to pull more details from shadows and highlights. There are phantom-powered XLR jacks for adding high-quality mics, plus five-axis image stabilization to keep you steady. You’ll frame your scene through a 3-inch touch display or a 1.56-million dot EVF. Footage is saved to a pair of SD cards and there are customizable function buttons for quick access to favorite settings.

Price: $1,899
usa.canon.com

Blackmagic Design Pocket Cinema Camera 4K

Blackmagic’s new Pocket Cinema Camera 4K features a Four Thirds-sized sensor with dual native ISO capabilities, meaning there are two optimal ISO settings for the camera instead of one. You’ll enjoy up to 13 stops of dynamic range plus 10-bit ProRes (422 HQ) and 12-bit CinemaDNG RAW recording to either SD cards or CFast 2.0 cards. It features a USB-C expansion port so you can also record video directly onto an external drive. The camera can also be charged using USB-C. As the name suggests, the new Pocket Cinema Camera is capable of shooting 4K video (4096 x 2160) at up to 60 fps or cropped HD at up to 120 fps.

Price: $1,295
blackmagicdesign.com

Related: New Gear for Wedding Filmmakers

Great New DSLR Cameras and Lenses

Movie Mavens: New Video and VR Cameras

Shooting VR Footage: Getting Started

The post Film Frenzy: New Video Cameras appeared first on Rangefinder.

Editor’s Choice! Zoom F1

Small enough to mount unobtrusively on your camera, the F1 ships with either a shotgun or lavalier microphone for capturing two-channel, 24 bit/96 kHz audio in either time-stamped WAV or MP3 format. While a mic is included, the F1 uses Zoom’s proprietary 10-pin connector so it can work with all of the company’s interchangeable mic capsules. The F1 connects to a shock mount that you can then slide into your camera’s hot shoe, connecting the recorder to your camera’s 3.5mm jack. The audio is recorded both to your camera and to a microSD card (not included) inside the F1 for redundancy.

Price: $200 (with lav), $250 (with shotgun)
zoom-na.com

DJI Ronin-S

The Ronin-S is a three-axis gimbal and the company’s first single-handed stabilizer for interchangeable lens cameras. It’s available in two frame sizes to support mirrorless and DSLR cameras. The Ronin-S features a Push mode to adjust the pan and tilt axis by hand. There’s also a new Sport mode to help you track fast-moving subjects. If you need to choreograph more advanced camera moves, you can connect the Ronin-S to your mobile device and use the app to access different modes.

Price: $699
dji.com

Sennheiser evolution wireless 500-p

The evolution wireless 500-p audio system was designed for filmmakers looking to cut the cord. It offers a number of output power options, including 10, 30 or 50 mW output power levels, to deliver an audio signal over a distance of up to 300 feet. The 500-p series supports 32 channels and up to 88 MHz of switching bandwidth for interference-free recording. You can enjoy up to eight hours of operation on two AA batteries.

Price: $899+
en-us.sennheiser.com

Atomos Ninja 5

Using the Ninja, you can record up to 4K/60p video in Apple ProRes HQ 422 (10-bit) or in AVID’s DNxHR HQX format from your camera. You can also record full HD video at up to 240 fps. The 5.2-inch touch screen delivers 1000-nit brightness for HDR previews. It’s coated in an anti-reflection finish and can deliver over 10 stops of dynamic range from LOG camera signals. The Ninja supports LUTs, plus a histogram, false color, peaking and movable 1-to-1 or 2-to-1 pixel magnification. Footage is saved to SSD drives up to 2TB in capacity.

Price: $695
atomos.com

Zhiyun Tech Crane Plus

The Crane Plus is designed to hold camera and lens combos up to 5.5 pounds. A Motion-Memory feature lets you save camera movements into the Crane for later retrieval. A POV mode delivers up to 45 degrees of synchronous motion so that as you roll left or right, the camera rolls with you (up to 45 degrees).

Price: $569
zhiyun-tech.com

Related: Great New DSLR Cameras and Lenses

Movie Mavens: New Video and VR Cameras

 17 Portable Pieces of Gear for Photographers on the Move

The Most Innovative Drones of 2018

The post New Gear for Wedding Filmmakers appeared first on Rangefinder.

DJI has updated its foldable Mavic drone with a pair of new flying cameras-the Mavic Pro 2 and Mavic 2 Zoom.

Both Mavic’s will share several core characteristics. First, they’re more aerodynamic and efficient. They can hit a top speed of 44MPH in sport mode, fly for up to 31 minutes and are quieter than their predecessors. They’re also slightly larger and heavier but also more rugged, with a new 3-axis camera gimbal that’s enclosed against the elements.

Both Mavics now support the FAT 32 file system, which enables them to store longer video files up to 32GB at a time to an SD card. They can both capture 4K video at 30p, 2.7K video at 60p and HD video at 120p.

The new Mavics are DJI’s first consumer drone with omni-directional sensors for object avoidance, though the side sensors are only engaged when using DJI’s intelligent flying features in ActiveTrack mode. Speaking of which, ActiveTrack has been enhanced to use both front-facing sensors and the main camera to create 3D maps of objects–the better to avoid them in flight (prior drones created 2D maps). The processing power devoted to obstacle avoidance has also been improved.

The new drones use DJI’s OccuSync 2.0 technology for beaming a 1080p video signal from the drone to a ground-based receiver from up to five miles away. They also feature new auxiliary lights on the bottom to improve landing in dimly lit conditions.

DJI has also created a new Hyperlapse mode with four flying options: circle a given subject, course lock (where you choose the direction and the drone flies it); way points and free flying.

Mavic Pro 2

The Mavic Pro 2 sports a 20-megapixel, 1-inch sensor in a camera co-developed with Hasselblad (DJI owns a majority stake in the medium format camera maker). According to DJI, Hasselblad’s input can be seen in the lens, image processing and in the incorporation of Hasselblad’s Natural Color Solution.

The Pro 2’s camera records 4K video with an option to record 10-bit HLG or 10-Bit D-Log format video straight to a MicroSD card. It delivers 14 stops of dynamic range when shooting still photos in a new Enhanced High Dynamic Range mode, which blends a sequence of still images in-camera for improved tonal reproduction.

The Pro 2 has an ISO range of 100-6400 and a fixed 28mm f/2.8-11 lens.

The Mavic Pro 2 will retail for $1,449.

Mavic 2 Zoom

As the name suggests, the Mavic 2 Zoom sports an optical zoom lens (24-48mm, equivalent). It has a 12-megapixel 1/2.3-inch sensor and a new hybrid autofocusing system that DJI says is 40 percent faster than the earlier Mavic.

It can deliver 13-stops of dynamic range.

Thanks to its optical zoom lens, the Zoom has a few unique features all its own. One of them is Dolly Zoom which will zoom in on a subject while the drone flies backwards from it. This way the subject stays the same size but the background gets revealed.

The other new mode is SuperRes, which takes nine images at maximum telephoto and merges them in camera to create a 48-megapixel image.

The Mavic 2 Zoom will retail for $1,249.

The post Aerial Awesomeness: Meet DJI’s New Mavic Pro 2 and Mavic 2 Zoom appeared first on Rangefinder.