Category: video review

In the second part of our 4th episode of ON THE COUCH, we have representatives from the two largest camera manufacturers in front of our cameras – Peter Yabsley from Canon and Fabien Pisano from Sony.


In a very friendly discussion between two big competitors, we talk about new cinematography related products that Canon and Sony have to offer. The little 4K wonder Sony A7S is a topic, and so are upgrades for the F5 and F55 line which provide additional functions like ProRes recording. On the Canon side of things we talk firmware updates for the C100 / C300 and the new continuous AF that’s now possible after the upgrade. We talk about the 17-120mm servo lens for S35mm cameras that Canon announced at NAB. The relevance of large sensor cameras compared to small sensor cameras and the different use cases are also topics, as well as new offerings by the two manufacturers in the small sensor arena.

The most insightful part of our talk is about industry trends and where everything is moving – with 4K being widely adopted from manufacturers and cameras getting smaller and more versatile, we talk about new markets for the two Japanese giants that would have been unthinkable only a decade ago.

For our entire NAB 2014 coverage, click here


All credit is given to author cinema5DNino Leitner

In the 1st part our 4th episode, I talked to Stuart Ashton from Blackmagic Design and Jihua Zheng from Kinefinity. Jihua talked about their new camera offerings, the Kinemini 4K and the Kinemax 6K.

Screen Shot 2014-04-10 at 2.08.20 AM

Stuart explained their new cameras, the URSA and the Blackmagic Studio Camera. I tried to find out when existing Blackmagic users can expect firmware updates for such essential functions such as formatting cards or deleting clips. We also talked about their controversial strategy to announce new cameras before the existing models started shipping in volume, and the quality control problems we encountered with their 4K camera sensors (watch Sebastian’s review of the Blackmagic Production 4K Camera here).

The 2nd part of episode 4 will be published soon too, and there we will have representatives from Sony and Canon sitting on the same couch and discussing their new product offerings – stay tuned!

For our entire NAB 2014 coverage, click here


All credit is given to author cinema5DNino Leitner

In addition to our regular reporting from NAB 2014 with product presentations, videos and news, we will introduce a new format this year – a talk show called “On the Couch” to be recorded at the Trump International Hotel close to the Las Vegas Convention Center, where the NAB Show takes place.

In this more laid-back atmosphere, I will talk to camera and accessories manufacturers, other well-known bloggers and filmmakers to talk about NAB trends, film productions and much more.

We will record shows throughout the NAB exhibition, which lasts from April 7-10.

supported by:On-the-couch---sponsors

This is only possible thanks to our generous sponsors B&H, Zeiss, Vitec Videocom and Tools on Air. 

Here’s our schedule so far, subject to change (and other shows to be added). Please don’t hesitate to shoot us any questions you might have for these guests! Either right here in the comments below this post, in the forum or via email.

The shows will not be broadcast live, but recorded in a multi-camera setup “direct to HDD” and put online as fast as possible after the recording wraps. Each show will last around 30 minutes.


Recording times below – please send us questions beforehand!

Monday, April 7 – 05.30pm PDT
Guests: Philip Bloom, Ryan Koo, Joe Marine
Topics: Major trends at NAB 2014

Tuesday, April 8 – 10.00am PDT
Guests: ZEISS- Barry Andersson, Michael Schiehlen, Dr. Aurelian Dodoc
Topics: Compact Primes, Compact Zoom lenses, Anamorphic, other topics

Tuesday, April 8 - 05.00pm PDT
Guests: Canon, Blackmagic Design
Topics: New products from Canon and Blackmagic Design

Wednesday, April 9 – 10.00am PDT
Guests: Dana Cristensen DP, Mark & Gabi Hayes – Justin Jensen, CEO Cinetics
Topics: Running a successful Kickstarter campaign – Financing an indie projects & products, “Hasselhoff documentary” announcement and trailer premiere

Wednesday, April 9 - 06.00pm PDT
Guests: Steve Weiss, Jens Bogenhegn, Rodney Charters, ASC
Topics: New products from Zacuto, trends of NAB 2014 and what will shooting look like in the future?

Thursday, April 10 – 10.00am PDT
Guests: B&H – Gabriel Biderman (show lead sponsor)
Topics: Who are B&H? Philosophy and history of US’s largest pro camera dealer

Thursday, April 10 - 04.00pm PDT
Guests: The Bui Brothers, Jan Woletz and Christof G. Dertschei.
Topics: Financing indie films – crowdfunding or what else? Does shooting in 4K make sense – two very different positions ….

Please check back frequently as this schedule might be adjusted with new guests and shows to be added.

All credit is given to author cinema5DNino Leitner

Before I start, a short personal word.
Usually my preferred way of conducting a “video review” is to put the camera in a real world documentary situation and see how it works for me. Unfortunately, the original video review that was planned with the new Nikon D4s was cancelled at the last minute so my alternative was to shoot this short “morning scene”…


Two years ago I was lucky enough to test the Nikon D4, a pre production model  (24h in 25p -night24h in 25p – day and “The University of Music and Performing Arts Vienna-image video”) so when the opportunity to test the new Nikon D4s came, I was very excited to see if Nikon’s engineers listened to user requests and made the camera (much) better than before. My expectations were high as Hiro Sebata, professional product manager at Nikon UK, said:  “For moviemaking in diverse conditions, D-Movie offers broadcast-quality video in multiple frame formats”.

In reality some things did change for good:
• Full frame video image quality got a bit better (but it’s still not as sharp as we would like it to be).
• Audio level control is now available during recording.
• Quick autofocus can be activated before and during video recording with good results.
• 1080 50/60p was added!
• HDMI secured cable for a safe connection between an external recorder and the camera was added to the package.
• Moiré and aliasing reduced.

Controlling audio-Nikon D4s                     Quick autofocus button-Nikon D4s

0J8K5594    0J8K5593

Functions/features/sensor behaviour that stayed the same as in the original D4 model:
• Full HD crop mode video quality is very sharp just as on the D4!
• Clean HDMI output for an external recorder.
• Severe rolling shutter.
• Assign “PV” and “FN” buttons for almost smooth aperture control.





One more feature that Nikon is very proud advertising is the “three sensor crop formats” (Full frame/APS-C/Native crop). In theory this is truly a great feature as it might allow you to use one lens in a variety of shooting situations but practically the video quality difference between those crop modes is too big and certainly can not be advertised as “broadcast quality” (FX and DX modes).

Another obstacle preventing  the user from getting the most out of the crop mode feature is the way the navigation for those modes is implemented in the menu. Totally senseless!

All in all, working with this camera left me with the same feeling I had when testing the original model. Nikon can certainly make great VDSLR cameras (see the video quality coming out of the D5300) but it will either cripple its usability (no full manual control modes) or, allow full control but cripple video quality performance.

The question remains open. Nikon WHY?

Camera settings used for this video:
• 1080 25p
• NL picture profile

• Edited on Adobe Premiere pro CC.
• 30% sharpening was added in post.
• Filmconvert plug in for slight color correction.

Music: Morning light by Johnathan Johns

Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of

All credit is given to author cinema5DJohnnie Behiri

Camera manufacturer Pentax (now Ricoh Imaging) has been rather quiet in terms of video functionality on their DSLR’s. With the new Pentax K-3 that brings a lot of innovation to the stills side the movie recording side has received some promising improvements as well. cinema5D took the Pentax K-3 for a spin and has some insights on its video capabilities.

bod_img_03_05Reading through their product description Ricoh Imaging seems to have put some improvement into the Pentax K-3′s movie mode. Aside from the usual 24p/30p full HD, we now have the luxury of 60i, 25p and even a dedicated “4K-interval shooting mode”, meaning you can take stills at a 4K image size/aspect and turn them into a timelapse afterwards.

It’s not like this is something you couldn’t achieve with any other stills camera nowadays, but it’s good to know Pentax has also started to take part in the game, or at least they tried…
Other new video features we’re happy to see include a microphone-in, headphone-out and manual audio controls.

pentaxIn the video above I went to an orchid show that had lots of colors and demanded dreamy close-ups which did a good job at hiding the camera’s flaws:
Resolution is very weak with lots of aliasing and color resolution being swallowed by a very thin codec only providing 18 mbit (even the first Canon’s had twice as much). Whenever people got into the shot you can see the picture is actually not that nice which was not only due to bad lighting conditions.

From the original Pentax K-3 press release:
The K-3 captures beautiful Full HD movie clips (1920 x 1080 pixels; 60i/30P frame rate) in the H.264 recording format, which assures flawless, high-quality movies even with fast moving subjects.

Considering my latest experience with the camera I must say that this statement by Pentax is quite misleading.

In terms of lowlight I shot between ISO 200-800 and only saw minimal noise and also in other tests the camera held up just ok there.

I used two of the Pentax’ picture profiles: “natural” and “muted”, while the latter gave a nice flat look that I decided to color correct with filmconvert and its “Alexa Log” and “Technicolor” settings. These seemed to work telling me that Pentax’ “muted” look is not so different from Technicolor’s own “CineStyle”.
Shooting “muted” and going through filmconvert made the end result look more cinematic to me. A better codec would have helped for more control and consistency.

One of the features Pentax has incorporated in all their cameras is the internal optical image stabilization meaning the sensor is moved in order to stabilize your image. This makes all lenses image stabilized. Not quite as effective as a lens IS, but it helps.
Unfortunately when I activated this feature in video mode nothing improved in terms of stabilization on the camera screen.
Instead I found my footage “image stabilized” in a weird way that appeared software-stabilized and in my opinion can not be used.

+ mic in
+ heaphone jack
+ manual audio level control
+ “muted” picture style is similar to “Technicolor”
+ good weather sealing

- low resolution / soft image
- very weak low bitrate h.264 codec
- optical image stabilizer doesn’t work in video mode
- noisy audio levels
- rolling shutter
- no adaptation of Canon lenses possible (requires proprietary lenses)

It’s true that what seemed promising at first turned out to be not so promising when I took a closer look at the Pentax K-3 and after shooting and editing the footage you basically realise that the video functionality was just an excuse. Sorry Pentax, but with video recorded at 18 Mbit/s and a soft image full of aliasing you’re not making filmmakers happy.

Thanks to András Marczika
If you need Orchids or Bonsai in Europe then you should definitely visit his website:

Music kindly provided by
Dexter Britain – Persuading Emotions

All credit is given to author cinema5DSebastian Wöber

Important notes concerning the video above:
• After some concerns with our Blackmagic Production Camera 4K review unit we were holding publication of this article until we received a replacement unit from Blackmagic today.
• Now that we have a replacement camera in our hands we can confirm that the initial concerns are correct and seem to be consistent.
• The footage the camera produces IS sharp. It is not only important to shoot with quality lenses but to also use a good ND filter when shooting outdoors.
Unfortunately the “Light Craft Fader ND mark II” I’ve used when shooting this video is not up to the task and significantly softens the image beyond a focal length of 85mm.
• At the end of this article you can find an ungraded version of the video for your assessment.
• If you are interested in this camera it is recommend that you download the 4K source from Vimeo: LINK

After the first part of our Blackmagic Production Camera 4K review (from now on referred to as “BMPC4K”) I went out into the field for a more thorough and practical look, especially stressing the documentary abilities of the highly anticipated new “4K budget wonder”.

johnnie 2-3Blackmagic was kind enough to send us an early sample of their new Production Camera 4K which we took a very close at. One of the first things you notice is the name: The first Blackmagic camera was named “Cinema Camera” while this new version is identified as a “Production Camera”.
Blackmagic Design emphasises not only by its name that this camera is aimed at the production market, meaning studio and television productions, documentaries and small scale live event shoots.

I took the camera out for a short “documentary style” work and I’m happy to share my experience as I think there’s quite a bit to consider.

4KAnyone who previously used the original BM cinema camera will feel at home immediately as the camera body and menu structure are very much identical.
I haven’t changed my mind that in terms of ergonomics there is much left to be desired BUT the market has moved forward and today you’ll have the benefit that you can find lots and lots of accessories to make your life easier when working with this design. (external batteries and dedicated rigs and more dedicated rigs, etc).

In terms of overall picture quality I certainly got mixed results:
When there is sufficient light the camera will produce wonderful images as long as you record at no more than 400 ISO. When changing the ISO value to 800, you are risking recording unusable footage (unconfirmed). My advice is to avoid ISO 800 on the BMPC4K at the moment.
To be fair we have to note that Blackmagic’s CEO Grant Petty already wrote back in August of 2013 that “This camera is not a low light camera”.

detail_dotsA concern is Blackmagic’s quality control. The camera we originally got had a strip of black dots at the bottom left/center side of the image (right-click open images below in new window for 4K resolution). The second one did not have it.
Black strip
A second issue we ran into were hundreds of white (dead?) pixels that were visible when shooting in dimmed/dark places and also dark areas of well lit images. In the screenshot below we show you footage taken in total darkness as this is where these white pixels on all parts of the sensor are best visible. We have circled some of them in red. Note that certainly we do not recommend shooting in a lowlight situation like that. the concern is however that the pixels also show up in dark areas on well lit scenes and also the image below has not been graded or boosted in post.
In part 3 of our review we discuss this issue further as these white pixels seem to appear and disappear without explanation. We are further investigating this issue.

Dead pixels 1

There was no post processing done to these images and the dead pixels were also visible after applying the dedicated Blackmagic Cinema Camera LUT in DaVinci resolve 10.1.1.

On the positive side: No Moiré or aliasing were detected, the audio got improved and of course recording right to pro-res is a time-saver.
Concerning audio: I must admit I forgot to bring an SD card for my Tascam DR-60D so the mic was connected to the Tascam WITHOUT recording on it. I sent the audio signal to the BMPC4K and recorded internally. As you can hear the audio quality is good enough for “normal” usage or when you don’t have a soundman working with you. It is unfortunate that after such a long time there are still NO audio meters on the Blackmagic Cameras to judge in camera audio levels.

All in all. If some of the concerns raised here can be addressed in some way, the camera can become good value for the money. 

Camera settings used in this short review:
• ISO: 400-800
• Shutter: 180°
• Recording format: ProRes (HQ) 4K
• Frame Rate: 25
• Dynamic range: Film
• Graded with: film convert

Music kindly provided by
Music title: “Willow Be” by “Live footage”

A big thank you to Thomas Strini who was up to the task of helping with this review in zero time.
You can find out more about Thomas and his work at

Ungraded version of the video:

vimeo link (to download 4K file)

Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of

All credit is given to author cinema5DJohnnie Behiri

Well, the Blackmagic Production Camera 4K is finally here. And we’ve put it through a bunch of tests comparing it to the Canon 1DC, the 4K flagship HDSLR by Canon.

Note: On the Production Camera 4K we tested we later found sensor problems which we looked further into in this post.

4KWhen the first Blackmagic Camera with RAW capabilities was announced at an extremely competitive price it made a big impact on the film industry. A year later the Blackmagic Production Camera 4K was presented and its specs shook us once again. At $3000 these are very amazing specs for a camera and finally we get a chance to see if the camera can live up to its expectations.

Since we had two of the really cool Sigma 18-35mm F/1.8 lenses lying around we equipped the Blackmagic 4K and Canon 1DC with them and went out to shoot some first side by side tests. This is the first batch of our Blackmagic Production Camera 4K reviews. More will follow in the next days.

You can see the results in the video above and since the video was uploaded in 4K we recommend you download the source file to see the full quality of it over on vimeo (source is 4K).

First Results:

The first thing that strikes you is the pricetag. $3000, for a 4K camera that shoots the Apple ProRes (HQ) codec. Wow. And yes, that is a wow, it can’t be neglected. The camera we compared it to costs $12,000 and that’s a whole different league indeed, but it’s our reference camera in 4K, producing beautiful results.

In terms of ergonomics nothing has changed. Blackmagic decided to use the same housing as the Blackmagic Cinema Camera. We, as run and gun shooters were not too fond of the design and though it was not very ergonomic, but we also know Blackmagic has put a lot of thought in it and had a reason for every design choice, even the internal, non-removable battery and we as filmmakers should respect that. This camera is officially laid out for production environments, it’s created not for the lowlight run and gunner, but for using it with accessories and a crew. Fair.

In terms of image quality the 4K of the Blackmagic very well matches the 4K of the 1DC. Sharpness is visually identical and gone is moiré and aliasing as we had seen it on the first Blackmagic Cinema Camera. Nice!!!

In terms of image size the Blackmagic Production Camera 4K has a slightly lower resultion than the 1DC. The 1DC sports a full 4K (4096×2160) as it is used in cinema, the Blackmagic uses the 16:9 aspect (3840×2160) UltraHD. To be honest, at 4K that is so sharp I personally couldn’t care less about a few missing pixels. Actually 16:9 serves me well as it is still the most commonly used aspect.

Another size difference can be seen when looking at the sensor. The 1DC uses an APC-H crop of its full frame sensor which in our comparison proved to be 28% larger than Blackmagic’s Super35mm sized sensor. This is a big step up from the previous Blackmagic Cinema Camera that had a very small sensor.
The result is a more shallow depth of field on the 1DC, but on the downside it usually requires full frame lenses. The Blackmagic can take APS-C sized lenses.

In the lowlight and dynamic range test the Blackmagic has room for improvement in comparison to the exceptionally lowlight powerful Canon 1DC. The Production Camera was said to be weak in this area which can be a reason to hold back for many who want to shoot quickly and efficiently. Just like on most RED cameras with the Blackmagic Production Camera 4K you will sometimes need additional light sources indoors. If you have those available then this will not be an obstacle, but it is definitely a point to consider.

Finally rolling shutter: A weakness many HDSLR cameras suffer. On the Blackmagic Production Camera 4K there is no more of that. The global shutter reads out the whole image and once and wins in this category.

All in all this camera is very noteworthy and exceeds our expectations in terms of quality. There is the known weakness in ergonomic design, lowight and dynamic range, but here’s a camera that records directly to ProRes (HQ) in a very evenly balanced and sharp 4K. This is truly a production camera, so if you have a studio setup there’s hardly a question whether this investment makes sense.

Sidenote: Blackmagic promised a free firmware update unlocking the RAW functionality for this camera soon.

Find part 2 and part 3 of our BMPC4K review here:
Review Part 2: Blackmagic Production Camera 4K in the field
Review Part 3: Blackmagic Production Camera 4K – sensor problems or not?

Song kindly provided by themusicbed
Steven Gutheinz – With the Leaves

All credit is given to author cinema5DSebastian Wöber

YU2A6156Well, the title says it all. In terms of video quality Nikon just brought the best APS-C sensor VDSLR to the market.
The video is sharp out of the box, yet it has a very nice organic look. Well done Nikon!

Now, before you all run to buy this camera, you must know that it is one of the most frustrating devices to work with. Where should I start….

1010025• Aperture:
If you are working with electronic lenses, there is no easy way to change aperture. You must change to photo mode in order to do so. True, it just takes the “click of a single button” yet it is very frustrating!!
(especially when the LCD screen turns blank leaving you without feedback). One possible workaround is to use manual focus lenses from Nikkor or third party companies.

• Audio:
This is one of the worst cameras I’ve ever tested when it comes to audio quality and audio functions.
The hiss is unbearable, there is manual control for audio levels but not while you are recording and worst of all there is no headphone jack for audio monitoring. Very frustrating!

IMG_343903• Focusing:
When pressing the “magnify” button you get some kind of a disturbing electronic magnification that results in a strobing screen. It is almost impossible to correctly focus on even slightly moving objects this way.

• Low light capability:
ISO 3200 proved to be too much for this camera, but at ISO 1000, which the video was mostly shot on, the quality is lovely.

Other then that all is good…. There’s no moire, no aliasing, just pure organic video with the capability to output a clean feed to an external recording device. One more plus point to note, this is Nikon’s first camera that can shoot 1080/50, 60p if wanted.

Camera settings for this review:
• 1080/25p
• Picture profile: NL
• No colour correction or sharpness was added during editing
• Audio was recorded externally. I’ve included 2 original audio files from the camera strongly relying on noise reduction. Wonder if you can spot them….
• All was shot on available light but the interviews. For that, one Cineroid L2C was used.


A big thank you to Maria and the wonderful people who agreed to participate in this video.
More info about Maria’s “Jodlerin2go” project can be found here.

All credit is given to author cinema5DJohnnie Behiri

Duzi 2

Cinevate sent over their brand new Duzi slider for me to try out. The Duzi is an interesting one, it opens up a new line for Cinevate as their entry-level slider, however carries many traits that better its next in the line – The Cinevate Atlas FLT.

The Duzi utilizes all metal components, with the exception of the 24″ 15mm carbon fibre rails, and urethane anti-scratch ball feet.

Below are the base specifications of the Duzi:

Weight: 3.6lbs/ 1.6kgDuzi in field 2
Weight capacity: 75lbs/34kg
Length: 24″
8 precision bearings (correction to my statement in the video review)
Multiple 3/8″ and 1/4 20″ mounting holes top and bottom
3/8″ mounting stud
6 micro adjusting urethane ball feet

In comparison to Cinevates Atlas FLT (Cinevate’s previous entry level slider), the Duzi is 40% lighter and cheaper, and has 3 times the weight capacity. The difference lies in its compatibility; the Duzi is a stand alone product, it’s not designed in conjunction with any of Cinevates motion control systems, all terrain feet or vertical counter balance systems.

The Duzi has a great action, it’s incredibly smooth to operate and due to its wide carriage it offers a very sturdy base. It’s very lightweight, noticeably lighter than my Atlas FLT; I didn’t hesitate to carry it around on my shoulder mounted to my tripod.

Screen Shot 2014-02-01 at 14.20.23

I don’t like the braking system. Much like the Edelkorne Slider Plus (which utilizes a similar 15mm rod wide base design) the lock only works when the carriage is in the central position. This is not always ideal, I regularly store my slider in my bag with the carriage at one end to accommodate the fluid head; you can’t do this securely with a central locking system.

Unlike the Edelkrone Slider Plus, the Duzi offers a plethora of mounting options on the underside. This is essential in ensuring a proper mate with the tripod plate; this was a big let down with the Edelkrone Slider Plus which only has one 3/8″ hole.

Back to the locking system of the Duzi, it’s fiddly to use, the thumb screw is time costly and if not secured after the brake is released, it can catch on the carriage and ruin your shot. A spring-loaded system, or one that’s reminiscent of the Cinevate Atlas design (where the brake works anywhere along the slider) would be much more effective.

Duzi in field 1

If you’re not looking for a modular system (motion control, all terrain feet, parallax bar) if you’re looking for a compact slider to work as-it-is, the Duzi has to be close to the top of your list. It’s a relatively low priced slider, and (in regards to similarly priced sliders) has the smoothest and sturdiest action I’ve used to date.

The Cinevate Duzi is currently priced at $399.99.

Additional equipment used in the review

Canon 5D mark III
Canon 70-200mm f/2.8 IS II
Canon 24-70mm f/2.8 II
Tiffen 77mm Fader ND
Cinevate Simplis Plate
Cinevate Universal Arm
SmallHD DP6 Monitor (discontinued)
Sachtler Cine DSLR head (discontinued, but FSB 8 is next best in line)
Miller Solo legs
Manfrotto 500 head
Think Tank lens changer 2
Zoom H1 with Sennheiser Lavalier

All credit is given to author cinema5DTim Fok

Sony was kind enough to send us an early sample camera from its latest Alpha range, the new A5000 (from that point on, all Sony cameras will be marked as “Alpha”. NEX no longer exists).
Like its predecessors, this APS-C interchangeable E-mount lens photo camera, can shoot video in different frame rates. (region dependant:  24 to 60 fps  in NTSC countries, 25-50 fps in PAL territories).

As this is Sony’s most modestly priced Alpha camera, I was very curious to check “how well does it shoot video” and if there are any (significant) improvements when it comes to “video picture quality” with this new model. If you are in the rush and have no time to read on, the answer is no and yes….

There is no improvement regarding sharpness (soft image), codec (AVCHD) or aliasing/moire.

Screen Shot 2014-01-31 at 13.16.59

Screen Shot 2014-01-31 at 13.11.24

Yes, camera will not shut off during recording because of overheating (at least during my extended indoor shooting day it did not happen – but it’s winter after all)!

As this is an entry level model, Sony chose to leave out some of the features which are much needed for serious hobbyists and advanced users. Gone are the headphone/mic jacks, manual audio level controls and hot/cold shoe. Those are of course only significant if you are after serious creative work and better camera control (like we are).

Personally, any camera that does not come with an EVF or the possibility to attach one, is already a “no go” for me as I find it nearly impossible to work outdoor with LCD only. An attempt to attach Zacuto’s Z-finder was not successful either as the magnified image on the LCD is very pixelated.

As you can see on the photo below, I ended up building a “mini rig” that will help me work comfortably.

Please note that interview audio was recorded externally. All other ambient audio was recorded in camera.

Screen Shot 2014-01-30 at 16.39.21
All in all, let’s stay realistic with expectations as this camera is not targeted at advanced users. It will do JUST FINE as a “home video” camera and a fun compact travel companion to shoot video and stills with.

Camera settings used for this short video:
AVCHD 1080/25p
Creative style: Portrait (-3 -3 -3)
ISO: mostly 800

All was edited on Adobe Premiere Pro. 20% sharpness was added in post. Colour correction done with FilmConvert.

Equipment used:
Sony 18-105mm f/4 lens
Sachtler ACE L
Cineroid Retina EVF
Sennheiser ew112 G3
Senal SMH-1000 Professional Headphones
Tascam dr-60d
Cineroid L2C-3K5K On-Camera LED Light 
SIX pro rig
Wooden camera UVF mount V2 kit

Highways of the Heart Tony Anderson
Louder – Instrumental Secret Weapons
Back to Where I’m From – Instrumental Joshua Radin

Many thanks to:
- Filius de la croix. If you want to learn more about his art work, please click here
cafe Korb for allowing me to film inside

Availability: Pre Order from B&H here

Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of

All credit is given to author cinema5DJohnnie Behiri