Redrock Micro has released a new product that gives digital filmmaking a retro makeover. The RetroFlex is a cladding for your Blackmagic Pocket Cinema or Sony Alpha Compact cameras that converts your boring digital camera into a hipsters dream.

The RetroFlex takes on the old school Bolex form factor: a pistol grip and rear viewfinder that provides the users with quite an attractive looking handheld setup.

There are two versions of the Redrock Micro RetroFlex. The RetroFlex Pocket Cinema and the RetroFlex Sony Alpha Mirrorless. The latter is compatible with compact mirrorless cameras like the NEX-3, A5000 and A5100 (not the flagship mirrorless a7R II and a7S II).

Both add a nice screen loupe to the back of the camera, as well as a record start/stop button on the handgrip.

Both viewfinders have a diopter and are detachable via magnet frame. The RetroFlex cages compatible cameras, offering a snug fitting protective and trendy clad as well as a cold shoe up top.

Further more are a handful of 1/4″ & 3/8″ thread on the side for additional accessories as well as optional cable protector for the side ports.

Design aside, the RetroFlex provides a lovely handheld form factor for the smaller mirrorless cameras, the large loupe looks like a solid third point of contact and there’s function to the cage and grip as much as there is retro design. You pay a premium for the aesthetic compared to a typical cage/loupe/handle, the justification of that premium is purely down to individual opinion.

The post Redrock Micro RetroFlex – Retro Filmmaking for Modern Cameras appeared first on cinema5D.

All credit is given to author News – cinema5DTim Fok

Redrock Micro has released a new product that gives digital filmmaking a retro makeover. The RetroFlex is a cladding for your Blackmagic Pocket Cinema or Sony Alpha Compact cameras that converts your boring digital camera into a hipsters dream.

The RetroFlex takes on the old school Bolex form factor: a pistol grip and rear viewfinder that provides the users with quite an attractive looking handheld setup.

There are two versions of the Redrock Micro RetroFlex. The RetroFlex Pocket Cinema and the RetroFlex Sony Alpha Mirrorless. The latter is compatible with compact mirrorless cameras like the NEX-3, A5000 and A5100 (not the flagship mirrorless a7R II and a7S II).

Both add a nice screen loupe to the back of the camera, as well as a record start/stop button on the handgrip.

Both viewfinders have a diopter and are detachable via magnet frame. The RetroFlex cages compatible cameras, offering a snug fitting protective and trendy clad as well as a cold shoe up top.

Further more are a handful of 1/4″ & 3/8″ thread on the side for additional accessories as well as optional cable protector for the side ports.

Design aside, the RetroFlex provides a lovely handheld form factor for the smaller mirrorless cameras, the large loupe looks like a solid third point of contact and there’s function to the cage and grip as much as there is retro design. You pay a premium for the aesthetic compared to a typical cage/loupe/handle, the justification of that premium is purely down to individual opinion.

The post Redrock Micro RetroFlex – Retro Filmmaking for Modern Cameras appeared first on cinema5D.

All credit is given to author News – cinema5DTim Fok

Cinevate has announced a new product for time-lapse shooters. Expanding on the wind up motor for the Duzi 3, Modo Pan offers users a simple load & roll pan tool for motion time-lapses.

Very simply Modo Pan is a wind up motor, no interface, no software, all mechanical.

It can achieve 360 degrees of rotation, and does so in two speeds – 30 minutes and 60 minutes.

Cinevate Modo Pan_3

Cinevate Modo Pan_1Modo Pan sits between your tripod head and camera (attaching via 1/4″ thread), wind it backwards and let it pan.

I’ve got the Modo module myself for the Duzi 3, which enables a no-fuss approach to achieving motorised slides. I’m very keen to try it out properly; initial tests have been positive.

You can combine the Modo Pan with the Cinevate Grip Reacher and Cinevate Modo to create some interesting, bi-axis time-lapses moves.

The post Cinevate Modo Pan – Simple Pan Tool For Time-Lapse Photography appeared first on cinema5D.

All credit is given to author News – cinema5DTim Fok

Ripple 3Q front

The much awaited Tangent Ripple control surface is finally going into production and should be shipping from the end of April. First shown at IBC last year, UK based Tangent have quietly incorporated feedback and perfected the new entry level control surface. The Tangent Ripple fills a real need for an affordable entry-level, highly portable control panel for colorists on the move, DIT carts and anyone wanting more professional control.

This latest update was recently posted on the forum Lift Gamma Gain.

Tangent produce some of the most highly respected and well priced color grading control surfaces, such as the Tangent Wave, and Tangent Element panels in use on a wide range of systems all over the world. The Ripple fills out the line-up so that anyone who works with color can afford a hands on professional experience. The Ripple will work with a wide variety of grading systems including DaVinci Resolve, Assimilate Scratch, Adobe Speedgrade, Baselight and more. For a full list of software compatibility see the list on the Tangent website.

We recently shared more details of the Tangent Ripple here: The Tangent Ripple – A $350 Color Grading Control Panel

Above you can see the finalised design now going into production. Early production models will be shown at NAB at their booth (SL5507), as well as some of their partners.

The post Tangent Ripple Design Finalised – Shipping April appeared first on cinema5D.

All credit is given to author News – cinema5DRichard Lackey

How to Age a Photo in Adobe Photoshop

Final product image
What You'll Be Creating

Digital photos are amazing technology. They are superior to working with old film in a number of very real ways. But for all their digital perfection, they often lack the character of old film. Film, being a physical medium, was susceptible to the ravages of time and would show signs of wear, tear and deterioration. This often produced a very attractive effect that we just don't get with our digital photos.

But we could... with a little help from Photoshop and some great textures. In this quick tutorial we will use some textures and some filter know-how to produce a convincing aged film photo effect.

1. Digital Resources

The key to a convincing aged effect is using high-quality textures. There are several texture packs available on Envato Market. For this tutorial we are using Old Film Cuttings - Scratches & Dust Textures Vol2.

Old film scratches and dust texture pack vol2
Old Film Cuttings - Scratches & Dust Textures Vol2

For the base image, just about any photo will work, but the effect is more convincing if the subject of the photo is also old enough to have an antique photo taken of it. For example, this photo of the Brooklyn Bridge.

Brooklyn Bridge image from pixabay

2. Simple Effects

Step 1

Begin by opening the bridge photo in Photoshop. Then use the Crop Tool (C) to crop the image down to isolate the bridge. The intent here is to remove the modern-looking vehicles from the shot.

Crop the bridge photo down

Step 2

Unzip the film texture package and open the two files, Pack_2_Film_07.jpg and Pack_2_Film_10.jpg, in Photoshop.

Scratched Film texture 1
Scratched Film texture 2

Step 3

On the Pack_2_Film_07.jpg file, go to Select > All (Control-A) and then Edit > Copy (Control-V). Switch over to the bridge photo and go to Edit > Paste (Control-V) to deposit the texture as a new layer over the photo. 

Change the blending mode to Multiply and use Edit > Free Transform (Control-T) to scale the texture down to fit over the photo. Use the Enter key to apply the transformation.

Place the first texture over the photo

Step 4

Use the same technique to bring in the second texture layer. When transforming the new texture layer, try to align the film holes as best you can. If the combined effect is too strong, reduce the layer's Opacity.

Add the second texture

Step 5

The scratches of the second texture seem to be too distracting around the center of the image. Add a layer mask with Layer > Layer Mask > Reveal All. Then use the Brush Tool (B) with the Soft Round Brush tip and black paint on the mask to hide the scratches in the center of the frame.

Use a layer mask to control the scratched appearance

Step 6

The original photo appears way too sharp to be on such an old piece of film. Go to the background bridge photo layer and go to Layer > Smart Objects > Convert to Smart Object. Then go to Filter > Blur > Gaussian Blur and use a Radius of 2.

Step 7

Use the Polygonal Lasso Tool (L) to create a roughly rectangular outline around the background photo. Then use the Add Layer Mask button at the base of the Layers panel to use the selection as a layer mask.

Add a mask to the background image

Step 8

Use the Brush Tool (B) again with the Soft Round Brush to soften the edges of the mask and gently paint out a few areas of the sky so the photo appears to be fading.

Soften the mask edges and portions of the photo

At this point the image is looking sufficiently aged, all through the use of some nice textures.

How the image looks now

3. Going Further

The image looks sufficiently aged at this point, and it would be fine to stop right here. But truly aged photographs usually feature some discoloration and even some light leaks as a byproduct of the technology at that time. If you want to push this effect even further, carry on with these steps to add these effects.

Step 1

Add a Photo Filter Adjustment Layer just over the background photo layer. Set the filter to Sepia and the Density to 54%. This will give the photo an antique tint.

Add a Photo Filter for a sepia tone

Step 2

As photos fade, they tend to get lighter. To simulate that effect, add a Curves Adjustment Layer and move the left curve point up about half a grid space. Then add a center point to the curve and move it upwards slightly.

use Curves to lighten the photo

Step 3

Now let's create a grain effect. Add a new layer with Layer > New > Layer (Shift-Control-N) and name the layer Grain. Set the foreground color to black and the background color to a pale yellow (#ece88c), and then go to Filter > Render > Clouds.

Add black and yellow clouds

Step 4

Go to Filter > Noise > Add Noise and use an amount of 50%. Then go to Filter > Blur > Gaussian Blur and set the Radius to 6.4. Finish the grain effect by setting the layer's blending mode to Overlay and the Opacity to 60%.

Finish the grain effect with noise blur and blending mode

Step 5

Light leaks were prominent flaws in old film exposures and can be easily simulated with a color gradient. Create a new layer for the Light Leak with Layer > New > Layer (Shift-Control-N). Grab the Gradient Tool (G) and open the Gradient Editor. Then set the gradient colors as seen here.

Set up a custom gradient

Use the Linear gradient to draw out a gradient starting at the top left and ending at the right, and just slightly down.

Add the Linear Gradient

Then finish the effect by setting the blending mode to Soft Light.

set the blending mode to Soft Light

Step 6

Add a layer mask to the Light Leak layer and use the Gradient Tool (G) with the Black to White preset. Keep the gradient on Linear and start from the bottom of the frame and pull it about half way up. This will fade the light leak effect out at the bottom of the image.

Fade the effect from the bottom of the image

Step 7

To keep the photo effects contained to just the photo area (and not the film frame), clip them all to the photo layer. Shift-click all the layers from the Photo Filter adjustment layer to the Light Leak layer to select them all. Then go to Layer > Create Clipping Mask (Alt-Control-G) to clip them all to the photo layer.

Clip the effects layers to the photo

Awesome Work!

Congratulations! See how easy it is to age a digital photo using some high-quality textures and a few filter tricks? I'd love to see your results in the comments below.

Awesome Work

All credit is given to author Envato Tuts+ Photo & VideoKirk Nelson

HDMI monitor manufacturers continue to miss a trick by not building an ultra thin monitor the size of a smartphone (or phablet) with build in battery rather than a bulky brick-like Sony NP block on the back of a chunky monitor. Now a solution might be at hand to turn your existing Android smartphone or tablet into an [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)

HDMI monitor manufacturers continue to miss a trick by not building an ultra thin monitor the size of a smartphone (or phablet) with build in battery rather than a bulky brick-like Sony NP block on the back of a chunky monitor. Now a solution might be at hand to turn your existing Android smartphone or tablet into an [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)

Exposure is one of the growing number of online publishing platforms for photo essays or long-form narratives—stories told with a combination of images and text. In this tutorial you'll learn how to create a compelling photo essay with Exposure.

Traditionally, these kinds of stories, albeit a select few, were published as features in magazines or as books. Platforms like Exposure are an increasingly attractive publishing alternative, and a way for photographers to connect with new audiences. With high-quality rendition of photos and videos, proven art direction and design features, and an ability to tap into existing and new social media networks, Exposure, like the other services featured in this series, is an exciting way to showcase and share your work.

The Power of Photo Stories

As I said last time, we all love stories:

"We like stories so much that we’ll even make up a narrative where none exist. We're hard-wired for it: narratives shape information into patterns, making the information easier to understand and remember."

Using stories to share your photography increases your profile as a creative photographer and the value of your photographs. Simply putting photos together into a narrative structure helps also helps people see photography in a brand new context. Stories help families see merit in having not just portraits taken, but also full family sessions that speak to their lived experiences. Many companies can see the possibilities of using storytelling photography to explain their mission, sell their product, or just create a positive feeling.

Creating stories with your images also helps you grow as a photographer. First, there’s the simple benefit of using your photos and giving them a life beyond your hard drive. Granted, there are many ways to publish your photos online, but there’s a extra benefit to doing it with stories. Having to connect and use photos to create an engaging narrative—regardless of how much text you use—demands a different kind of relationship with your photographs.

Trying to put your own photos into a narrative context is a terrific learning exercise, no matter what your experience level. Photos that might not withstand scrutiny when presented alone may become essential parts of a narrative. Conversely, photos that might excel as individual images of merit may not fit a story. The only way you can find these exciting potentials in your pictures is to experiment.

How to Use Photo Story Platforms and Have Your Work Seen

Photography-oriented storytelling platforms like Exposure are helpful in a variety of ways, but one of the most important is just what it says on the tin: they help you get your work into the world in an efficient, good looking, easy-to-use way.

The trick these days isn't getting your work published, it's getting seen. As a platform for photography, in particular, Exposure gives photographers an opportunity to get their work in front of a special audience: photo editors, other photographers, journalists and writers, and online and traditional publishers. These people are tapped-in and hungry for good photo stories. They follow the online publishing platforms and are educated about photography. This is a great audience because it doesn’t need to be convinced of the value of your work if the quality is there.

Exposure also gives you with the opportunity to connect your published story into existing social media. This can help you get your work out to clients, potential clients, and colleagues who may not actively follow the specialized photo publishing platforms but are on other social media platforms. The networking remains the same but what is shared is different. Instead of (or in addition to) keeping portfolios of images on our websites and circulating a few images with posts to social media platforms, we use social media to share a finished product that uses our images.

Exposures home page
Exposure's home page

Exposure is for Photographers

In a previous article, I introduced Atavist, one of the first online publishing platforms for long-form narratives. Atavist grew out of the Atavist Magazine, an online publication that features quality writing supported by images. In contrast, Exposure—an online publishing platform built primarily for photographers—favours quality photographs supported by occasional writing. In fact, one of Exposure’s several topic categories is “My Work,” a collection of “projects, portfolios, and other creative endeavours.” If you’re short on inspiration, just take a wander through the featured works in this category. You’ll find well-known photographers and emerging photographers who should be well-known. You’ll also get a few ideas about how to put your work together for publishing. And if you’re uncertain about the value of using Exposure to keep and get clients, take a wander in the weddings category, or families, or events.

Because Exposure is primarily for photographers, Exposure has set some clear guidelines on what photographs you can and cannot use. I recommend taking a few minutes to read the guidelines. There aren’t any surprises—basically, upload only your best photos and don’t use or abuse other people’s work—but reading the guidelines will give you a sense of Exposure as a community of photographers and storytellers. The company you keep can be as important as what you publish, so it’s reassuring to read Exposure’s expectations of those who publish on the platform.

One last comment about Exposure before we put a page together: you own everything you upload to Exposure. Your work may be displayed in an Exposure-generated collection or in the weekly email of features, but you will always get credit. That’s their promise. Design features in the platform also help to protect your photos against data scraping and theft.

Exposures member page
Once you create your account, you'll have a member page, which is the starting point for creating your stories.

Publish Your First Story

The biggest impediment to publishing your work is inertia, so take advantage of this tutorial as a prompt to pull something—anything—together and share it. Exposure offers a no frills, free membership (limited to three stories), so you’ll lose nothing by trying and will gain at least experience.

Signing up for, and using Exposure is not complicated. Simply go to the website (exposure.co), sign up, and the big red Create New Story button will appear on your member page. Before you press that button though, take a moment and read Exposure’s quick start guide. Like many online publishing platforms, navigating the services and options requires that you poke around and sort out the platform’s unique layout. (I have yet to find two publishing platforms that are at all similar!) 

On Exposure, you get to the help menu either by going directly to the support website or from the top left of your member page, select Menu > FAQ & Support (in smaller print, toward the bottom of the list). That will open a new page in your browser. Scroll down the page and select Getting Started. That will open a list of articles that cover the basics. (I did say it wasn’t a direct route.)

I won’t repeat a lot of the basic information that’s in Exposure’s quick start guide, but I will cover what you need to get going and point out a few features that you might miss or that might be confusing.

Exposures member page with menu options
The Menu button in the top left of the member page opens a list of options. Toward the bottom of the list is FAQ & Support.

Create the Story

When you select Create New Story from your member page, you’ll be dropped into a design shell. Your options are basic and uncomplicated: you need a title and, optionally, a subtitle, a cover photo, and a category. You do not have any formatting choices at this stage. My tip is to evaluate two things about the photo you will use for the cover photo: composition and density.

1. Composition: Is the photo simple enough that it won’t create visual noise when the story title is added on top? Similarly, will an important part of the photo be obscured or distorted when the story title is added? Having the title run through the middle of a bride’s face, for example, will not earn you any accolades from the bride or potential wedding clients.

2. Density: The title includes an opaque cover overlay that darkens the cover photo. The layer visually forces the photo into serving as a background—its intended purpose at this point. However, if you are using a photo that is already dark, filled with shadows, or under-exposed, the cover overlay will render your photo almost unviewable. If this is the case, consider preparing a version that is a stop or more brighter than originally intended.

Exposures design shell for a new story
The first option when creating a new story is to add a cover photo and title.
Photo used for story cover without opaque overlay
Dense (or dark) photos will look even darker with the cover overlay. The top image shows my photo with the overlay in place. The bottom images shows my photo without the overlay.

You do have the option not to display the cover overlay and titles. At the top of your page, select Options > Hide Cover Overlay & Titles. It will still appear in editing mode, but will be removed for viewers once published. Be sure to select Save Changes after you’ve changed your option. (Other options within that menu have their own Save button. I find that confusing.) The advantage to removing the cover overlay is that your cover photo now displays in its full glory; the disadvantage is that your viewer loses key navigational information.

Menu options for removing title and cover overlay
The menu item for removing title and cover overlay is under Options. Remember to Save Changes after making your selection.

Add Content

When adding content, you have four choices:

  • Text, which includes a heading and text but no photo
  • Photo group, which includes a heading and text and up to nine photos (up to 15MB each)
  • Single photo, which includes a heading and text and one single photo (also up to 15MB) that will display the full width of the post
  • Embedded content, which includes a heading and text and the ability to embed a link video, audio, or maps

The process for adding content is simple: at the bottom of your screen, under Add to Your Story, click once on the content type you want to add. The content box will be added to the bottom of whatever content you’ve already created. Simply scroll up to the content box and begin adding whatever it was you selected.

Content blocks for adding content to stories
Add content to your story by selecting one of the four content box options.

I do have some suggestions for working with the content boxes:

Embrace Limited Design Options

Design options for added content are limited and simple. Layouts are fixed and styles are set. That might frustrate the designers among us, but it makes the platform easy to use for those not interested in design with a guaranteed attractive result.

Title and Text Optional

All content boxes include options for adding a title and text. You do not have to add a title or text if you don’t want to. If you don’t, the cues will remain visible while you are editing your story, but they will disappear once you publish. 

Photo content box with text placeholder
All content boxes, including those for photos, contain placeholders for text.

Order and Reorder

To change the order of the content boxes, click the chevron on the right of the content box to move the box up or down one position. Click it again to move it one more position.

Content boxes with chevrons
Use the chevrons on the right to re-order content blocks.

Captions and Click-Throughs

You can add captions and click-through links to any photo. Once you’ve added the photo to your content, mouse over the photo to display the gear icon. Select the gear icon to access the option to add a caption (at the bottom of the photo) and mouse over the photo again to reveal the option for a click-through link.

Menu for adding captions and click-through links to images
Select the gear icon in a photo to open the menu for adding a caption and click-through link.

Text

To make formatting changes to the text, add a hyperlink, or undo any text action, you must first highlight the text you wish to affect. Then the formatting options box will appear. You can also use standard keyboard shortcuts to format text with bold or italics, or to delete text.

Text formatting menu
Select text to reveal the text formatting menu. Alternatively, use the standard keyboard shortcuts.

Alignment

You can change the text alignment (left, centre, right) by using the align selection to the left of the title, but the change affects everything—text and titles—in the content box. The change does not affect other text boxes. That said, I don’t know why photographers prefer to centre text. Centred text is more difficult to read and will slow your viewer down. It may only be a matter of milliseconds per paragraph, but the added effort will give viewers a reason, even if unconscious, to leave your story without completing it. It’s difficult enough to hold viewers’ attention; don’t give them added reason.

Text alignment menus
Select the alignment icon on the left to change text alignment. Changes affect only individual blocks.

If you like to prepare your content offline and then load it into your online story, be warned that any text formatting or hyperlinks created offline will not be preserved when you add the content to Exposure. Similarly, all paragraph formatting will be removed. This makes some sense given Exposure is committed to photography and not text; however, I found it to be an annoyance. I elected not to bother formatting text before pasting it into Exposure, and when I did paste the text, I pasted it one paragraph at a time so I didn’t have to go looking for where the paragraph break belonged. The Remove Text button removes the complete text content box, including all of its content.

Photo Groups

Selecting Add a photo group, will open your file browser so you can select the image or images you wish to add. You can select up to nine images. If you do not select all nine, you can still add more images to the group by selecting Add New Photos at the top of that image group. However, now you will add the images by dragging and dropping. When done, remember to select I’m Finished for the photos to appear.

Drag and drop option to add more photos
Add additional photos by dragging and dropping the images into place, then selecting I'm Finished.

You can rearrange the order photos appear in the group by selecting Reorder Photos at the top of the group. That opens a small—and I do mean small—list of image thumbnails. Simply select the image you want to move, drag it, and drop it in its new location. Again, remember to select I’m Finished for your changes to be saved.

Menu for reordering images
Reorder images by moving the small image thumbnails.

Photo groups display the full width of the content but not the full width of the window.You can change how the photos are clustered—the number of rows and the number of photos in each row—but it’s a bit of a game to get what you want. Mouse over the photo you want to change and you’ll see options to Remove Photo or Fill Row. By selecting Fill Row, the photo will move into its own row and spread the full width of the row. If you wanted to move two photos into a shared row, you have to select Fill Row on the second photo, then go back to each photo in its own row and select Unfill Row. Depending upon where the photo is in the set, you may also have to change the order of the photos and repeat some of the steps. As I said, it’s a bit of a game.

Change display options for photos
You can change how photos appear in a group, but it does take some fiddling. The gear icon gives you access to the menu for adding a caption and click-through link.

Single Photo

Selecting Add a full-width photo opens your file browser so you can select the image you want. If you wish to change the photo for another, select Replace Photo at the top of the image and then, as with photo groups, you are back to dragging and dropping the new image in. Single photos display the full-width of the window. If you want a single image to display only the width of the content, use a photo group but only add one photo.

Embedded Content

Embedded content displays the full width of the window.Exposure allows you to embed content from YouTube, Vimeo, Google Maps, Instagram, or SoundCloud. Simply select the Embed content box from Add to Your Story and follow the directions. However, I found the embed links to be inconsistent. For YouTube, I needed the embed link that YouTube provides, but for Google Maps, I needed the share link, not the embed link. If your content is not embedding, prepare to play around a little with the links.

Embed content menu
The embed content option can be a little fussy. Try different options if you find Exposure is rejecting your URL.

Publish Your Story

One of my favourite features with Exposure is the ability to plug your story into existing social media networks and embed the story on your own website once you’ve published. To publish your story, simply select the red Publish Story button. You will automatically be taken to the options for sharing your story. If you choose not to share your story but decide later that you would like to, simply select the story on your member page, then select Share at the top right. Your options are all there.

Menu for sharing published content
Exposure offers a number of options for sharing published content, including the ability to embed the story on your website.

If you decide to use Exposure and you opt for a paid subscription, do take advantage of Exposure’s built-in tracking feature to see how much traffic your stories are getting. In the top left of the window, select Menu > Statistics. The report is comprehensive.

Exposures statistics page
Detailed statistics are available to paid subscribers. 

Keep Learning

As photographers, we might not think in words, but we do think in narratives. The online publishing platforms provide photographers with an opportunity to use narrative structures as a way of profiling our work and developing our talent. Using online narrative tools also helps us to get our photos in front of different audiences and present our work to established audiences in new ways.

Exposure is an online publishing platform that has been built with photographers in mind. Photos display beautifully; you can use text or not; and published stories can be linked into your broader social network with ease. Design options are minimal, but the standard design is elegant and uncluttered.

If you know you’d like to try an online publishing platform, but you’re not sure what you need or Exposure doesn’t seem to be the right platform for you, have a look at the other articles in our Photo Essay collection for more suggestions. And if you do publish an online narrative, share the link with us so we can all take a look!

All credit is given to author Envato Tuts+ Photo & VideoDawn Oosterhoff

Comment on the forum Without doubt my favourite camera series of the last 5 years has been the Panasonic GH range. But with the Sony A6300 on the horizon sporting a Super 35mm sensor with full 6K readout, is the future looking a bit shaky for Panasonic’s video wunderkind? In the last few years Panasonic have [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)

Comment on the forum Without doubt my favourite camera series of the last 5 years has been the Panasonic GH range. But with the Sony A6300 on the horizon sporting a Super 35mm sensor with full 6K readout, is the future looking a bit shaky for Panasonic’s video wunderkind? In the last few years Panasonic have [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)