SmallRig has been releasing new products that cover a wide variety of production solutions. They introduced two collaborations with popular filmmakers, including Potato Jet (Gene Nagata) on a new tripod, and Brandon Li on a special, multi-use camera cage and case for the iPhone 16 Pro / Pro Max. Additionally, they released a heavy-duty fluid head tripod with a payload of up to 13.2 lbs (6 kg).

SmallRig Rotating Side Handle with Trigger REC – features

If you’re using select Blackmagic Design BMPCC series, Canon EOS, and Sony mirrorless cameras regularly, particularly handheld and without a camera cage, you may want to take a look at the new SmallRig Rotating Side Handle. It’s been ergonomically designed to comfortably and securely fit in your hand and will help reduce fatigue when shooting for extended periods.

One of the main features is the record button at the top, allowing for easy start and stop of recording while filming. The REC function works with select cameras that include Canon EOS and Blackmagic Design BMPCC series. Plus the Sony Alpha 1 / Alpha 7 / Alpha 9 series, and the FX3 and FX30.

It also recharges quickly via USB-C, although certain models, including the Canon EOS and BMPCC cameras, require an NP-F550 / F570 to power.

The full list of features include:

• Ergonomically designed secure grip for smooth filming, reducing hand fatigue with 360° rotation.
• Easily start and stop recording from the SmallRig Rotating Side Handle with the REC button. Includes a control cable for the camera.
• One-click stepless rotation makes it easy to adjust the Side Handle to fit your shooting needs.
• Cold shoe mount, 1/4”-20 thread holes, and a wrist strap slot. You can add a variety of accessories to the Rotating Side Handle.
• Adjustable NATO clamp with a width range of 16mm to 20mm (0.6” to 0.8”).
• USB-C power output supporting PD (power delivery). The charging is fast, so you’ll be able to get back to filming.
• For Canon EOS and Blackmagic Design BMPCC cameras, an NP-F550 / F570 battery is required to use the REC function. Note: The Canon EOS R5C and BMPCC 6K Pro are incompatible with powering.

Price and availability 

The Canon EOS and Blackmagic BMPCC series version of the SmallRig Rotating Side Handle with Trigger REC retails for $134.99 (NP-F550 / F570 batteries sold separately). The version for selected Sony mirrorless cameras costs $129.99. Get more information on the Blackmagic and Canon versions here, and the Sony version here.

Are you using any SmallRig products? What are your thoughts on the new Rotating Side Handle with Trigger REC? Let us know in the comments below!

AltCineCam (Alternative Cinema Camera) is the brainchild of creative partners Cole and Simon. Their respective backgrounds in technology, custom electronics, 3D printing, and glass design led them to form the company to modify ‘off-the-shelf’ cameras into cinema powerhouses.

AltCine Eclipse – a modified Blackmagic Micro Cinema Camera

The Eclipse is a modified Blackmagic Micro Cinema Camera transformed into a box-style camera. It is about the size of a RED KOMODO, 120mm wide (4.7in), 105mm tall (4.1in), and 130mm (5.1in) long. The top of the Eclipse features six chrome custom buttons, including Record, plus function buttons, and the jog dial to customize the screen (false color, focus peaking, etc.).

They customized their own OLPF moire filter and worked with PixelCNC to create carbon fiber panels for the camera. However, there is no word on specific lens mounting options.

Full features include:

• Modified Blackmagic Micro Cinema Camera.
• Super 16 Fairchild sensor (1080p).
• Custom AltCine low pass filter.
• Carbon fiber, cube-style body construction. Removable side panels and vents.
• 4.3-inch display, 1000 nits, at the top (controlled by function buttons and job dial).
• Six chrome buttons including record at the top of the camera. Additional Record button on the right side, tally light on the left.
• Pogo pins on top to power proprietary accessories.
• Built-in ARRI Rosette.
• Multiple industry-standard mounting points.
• SD card slot.
• Full-sized HDMI out.
• 2x SDI out.
• Full-sized XLR in.
• 3.5mm microphone jack.
• TRS microphone in.
• 3.5mm headphone jack.
• SMA with 90 degree angled adapter, an antennae for REC remote receiver, and SMA Trough.
• Additional I/O ports: 12V DC in, REF in, S.BUS, Analog servo Ch.1, LANC, and USB-C 5V out.

Another Blackmagic Cinema Camera mod

Another company modifying Blackmagic Cinema Cameras is Nexus, who just announced that their G1 has reached the final design. It is a box camera made of magnesium alloy and carbon fiber and uses the Blackmagic Design 6K Super 35 RAW imaging system.

The working prototype has many interesting features, including a 0.71x speed booster to transform it into a full-frame camera. Plus, built-in LWS spaced 15mm rig rod mount system that slides in and out of the body itself. You can learn more about the Nexus G1 here.

Blackmagic does have its own box-style cinema camera, the PYXIS 6K, announced earlier in 2024. It has many of the features found in the mods and can accept multiple accessories. It starts at $2,995 with Canon EF, PL, and L mount options.

Price and availability 

AltCine plans to unveil an ARRI mod and their CinePi camera, an affordable 16-bit RAW 4K camera. The AltCine Eclipse doesn’t yet have a price, but the company should have more details soon. You can view footage in the video above and learn more about the Eclipse on their website.

What do you think about this new modification? Let us know in the comments!

XELMUS’s first 2x anamorphic lens series, called APOLLO, debuted back in 2019 and quickly gained recognition for its distinctive, cinematic look reminiscent of classic Panavision glass. Earlier this year, the APOLLO series was expanded to include a 24mm T2 and a 180mm T2.8 – for a total of 9 available focal lengths. Almost all of these cover full-frame or large-format sensors, except for the 24mm and 32mm, which are limited to Super 35mm coverage.

Now, XELMUS is setting out on a new quest with AURA, an upcoming series of 2x anamorphic lenses designed specifically for the Super 35 format. The lenses made their first public debut at EnergaCAMERIMAGE 2024 in November, but the company has only recently unveiled further details. Let’s take a quick look!

XELMUS AURA 2x anamorphic S35 series – overview

The upcoming XELMUS AURA anamorphic series will consist of 8 focal lengths divided into two sets:

• Set A: 30mm T2.2 / 50mm T2.2 / 75mm T2.2 / 135mm T2.5
• Set B: 20mm T2.2 / 40mm T2.2 / 60mm T2.2 Macro (Close focus: 9.8in/25cm) / 100mm T2.2

According to the manufacturer, the AURA lenses inherit the same anti-mump focusing system as the APOLLO lenses but take it one step further by implementing more precise mechanics.

While there isn’t any sample footage available for the AURA lenses yet, XELMUS describes their look as “modern and contrasty with beautiful waterfall bokeh, low barrel distortion, very muted white-blue flares, retro-inspired veiling glare, and controlled focus breathing.”

Price and availability

According to XELMUS, the AURA lenses will only be available to purchase as a set. Set A should start shipping on July 1st, 2025, while the company should begin taking pre-orders for Set B by the end of 2025.

There is currently no official pricing information. For reference, a set of 3 APOLLO lenses costs about $48,000.

For more information on XELMUS anamorphic lenses, please visit their website here.

Have you ever shot on XELMUS APOLLO anamorphic lenses? How do you like their look? What do you expect to be different for the upcoming AURA series? Let us know your thoughts in the comments below!

After a considerable decline in popularity over the last few years, 2024 could be the year of sliders’ return. Indeed, iFootage announced its Shark Slider Nano 2 during IBC 2024, and we recently reviewed the Trexo Converta. As someone who loves to use sliders for corporate and interview shoots, I’m glad manufacturers keep innovating in that area.

After releasing the Micro3 series in July 2022 and the AXIS series in August 2023, ZEAPON is back with the latest iteration of their sliders: the Micro4 series.

ZEAPON Micro4 Series – features

Let’s start with one of the standout features of the Micro4 sliders: its double-distance sliding mechanism. This innovative design allows the slider to offer twice the range of movement compared to its physical length, which can be very handy for filmmakers working in tight or confined spaces.

Six different versions of the Micro4 are available: the M500/M700/M1000, which are manual sliders, and the E500/E700/E1000, which are motorized sliders.

The main differences between the models are their length, travel distance, and weight. However, all slider models have a maximum payload of 12kg/26.4 lbs horizontally and 4.5kg/9.92 lbs in any other orientation. So, what’s new with this new fourth series compared to its predecessor?

What’s new?

The track design didn’t change much, but ZEAPON improved the dampening mechanism for smoother results, which is helpful for the manual versions. Also, they added support wheels at both ends of the sliders to prevent the slider from sagging when you reach the end of the track.

Most of the changes and improvements of these new slider models are located in the motor, which has been completely redesigned from the ground up. Thanks to its new control buttons and touchscreen, the Micro4 doesn’t need a cellphone or app to be operated.

On the motor, you’ll now find a speed adjustment wheel and a normal/high-speed switch button. In terms of speeds, the range goes from 0.18mm/s at 1% speed in normal mode all the way up to 17.8cm/s at 100% in high-speed mode. Furthermore, ZEAPON claims the Micro4 series motor is “ultra quiet” and should not make audible noise in normal-speed mode.

Like its predecessor, the ZEAPON Micro4 can be powered by one Sony NP-F battery. However, you now have the option to power it externally via a power bank plugged into the motor’s USB-C power input. According to ZEAPON, a single small Sony NP-F550 battery can power the slider for up to 5.5 hours at normal speed and close to 3 hours at high speed.

Price and availability

The ZEAPON Micro4 series sliders are available for preorder now, ranging from €428,95 for the M500 to €572,95 for the M1000, while the motorized version starts at €736,95 for the E500 all the way up to €879,95 for the E1000.

For more information, please visit ZEAPON’s website here.

What do you think about these new ZEAPON sliders? Are sliders still part of your shooting kit? Have you ever used ZEAPON sliders? Don’t hesitate to let us know in the comments below!

At the beginning of September 2024, Canon announced the EOS C80. This compact camera features the same 6K BSI Full Frame image sensor as the Canon EOS C400, and it includes numerous Canon EOS C70 user feedback, including a new brighter built-in screen, the addition of a 12G-SDI output port, an improved autofocus system, a new triple base ISO, and so on. My colleague Johnnie did an entire review of the camera that you can watch here. The Canon EOS C80 was even elected as one of CineD’s cameras of the year.

As the camera starts to be delivered to content creators worldwide, more manufacturers are beginning to release their rigging solutions for it. Dutch manufacturer Vocas is joining the party by releasing a cage and top cheese plate for the Canon EOS C80.

Vocas cage for the Canon EOS C80

The Vocas cage for the Canon EOS C80 is a half cage entirely made of aluminum, which won’t add much weight to your camera package since it only weighs 250g/0.55 lbs. This cage attaches to your camera via five screws at the top and bottom, so it won’t twist or come loose. On the cage, you’ll find a plethora of 1/4″-20 Pin Lock and 3/8″-16 Pin Lock mounting points. Also, it has a cold shoe mount on the top’s right side.

At the top of the cage, you’ll find a 1/4″-20 mounting point with Canon’s anti-twist ridges, making it compatible with the stock top handle. Furthermore, the cage doesn’t obstruct the hot shoe at the back of the camera. Even if the Canon EOS C80 now has a built-in electronic level, Vocas included a built-in level at the back of the cage.

Even though the Canon EOS C80 now has a 12G-SDI output, it still has an HDMI output port. This Vocas cage has a right-angle HDMI adapter and clamp, so your camera’s HDMI connector stays safe and secure.

Vocas top cheese plate for the Canon EOS C80

If you want to keep your Canon EOS C80 more minimalistic but still benefit from extra mounting points, Vocas has a top cheese plate available. This plate secures your camera via two screws and gives you three 3/8″-16 Pin Lock and six 1/4″-20 Pin Lock mounting points, a cold shoe, and the same built-in level as the cage.

Price and availability

The Vocas cage for the Canon EOS C80 is available now for $320.27/€285.11, while the top cheese plate is €123.48. Of course, both products are compatible with other Vocas accessories, such as their top handles, baseplates, and RF to PL/LPL lens mount adapters.

For more information, please visit Vocas’ website here.

What do you think about these rigging options for the Canon EOS C80? Did you already receive your EOS C80? What is your go-to third-party accessory manufacturer? Don’t hesitate to let us know in the comments below!

The importance of using a high-quality cinema monitor while filming cannot be overstated. The image is larger and oftentimes superior to what’s on the camera viewfinder or small onboard monitor. Directors will watch a scene play out on a monitor, seeing what the final shot will look like, minus any color grading and effects. These monitors can range in price from several hundred dollars to thousands of dollars or more. They are a valuable production tool that can be used on any type of shoot.

CineMon features

CineMon v1.0 has many of the features needed in a cinema monitor. The app takes full advantage of Apple’s Metal APIs for maximum performance while keeping battery use to a minimum. It also supports plenty of UVC video hardware options, with even more pro options available on a Mac.

The developers have worked on bringing the tools and features found in a professional cinema monitor to the app and, in turn, an iPad or Mac. This allows cinematographers and shooters an affordable way to check focus, exposure, composition, etc. Plus, there is plenty of customization that can be done and can be saved to switch between configurations.

Connect a pro camera to an iPad or Mac with an HDMI or SDI cable (via USB adapter) and launch the CineMon app to start monitoring your shots. The developers say input from other devices will be supported soon, including Blackmagic’s UltraStudio devices and NDI.

Features include:

• Image-Based Spot Metering: This feature is CineMon’s own spot meter tool (patent pending) that shows precise scene luminance values relative to the middle gray under each movable probe. Customize middle gray level, show contrast ratio overlay, and the probe can help set the middle gray value. Supports log profiles from Blackmagic, RED, ARRI, FUJIFILM, Sony, Canon, Nikon, and Panasonic.
• Focus Assist: Customizable focus peaking and Edge Only mode help with fine-tuning the focus.
• Zebras: Two independent Zebra levels, customizable colors, and overlay highlights and shadows.
• Composition Guides: Grid overlay, center mark, safe area, and a Framing Guide with blanking bars.
• Scopes: Histogram, waveform, and vectorscope.
• LUTs: Import as many LUTs as you wish, with support of cube LUTs up to a 33 grid. Rename and organize the LUTs easily. 
• Image Adjustments: Exposure compensation, contrast, and saturation.
• Color Key Preview: Check the overall quality of green screen backdrops, plus do composites with custom backplates. Adjust exposure to match VFX and finesse the contrast ratios.
• Image Transforms: Flip/flop and de-squeeze anamorphic video, including custom de-squeeze aspect ratio.
• Customizable false color.
• Image Overlay.

There are similar apps to CineMon that turn an iPad or iPhone into a monitor, including Accsoon’s SeeMo Pro SDI, Orion HDMI Monitor app, the Jetset Cinema app, and others. CineMon seems to really bring the full cinema monitor experience to an iPad or Mac.

Price and availability 

CineMon is currently in beta but will soon be available on the App Store for iPad and Mac. You can learn more and sign up for the beta on their website.

What are your thoughts on using CineMon and an iPad or Mac as a cinema monitor? Are you using similar apps and setups? Let us know in the comments below!

The Blackmagic PYXIS 6K camera was unveiled at NAB 2024 and featured a box-style design and a full-frame 6K sensor (36 x 24mm, 6048 x 4032) with 13 stops of dynamic range. It supports filming in open gate 3:2, full height 6:5 anamorphic, and Super 35, plus 6K, DCI 4K, and HD. Supported mounts include Canon EF, L-Mount, or PL.

Blackmagic Camera 9.2 update – New features, enhancements, and improvements 

The Blackmagic Camera 9.2 update allows the new PYXIS 6K full-frame camera to be controlled remotely with the updated Blackmagic Camera app. It also adds support for the PYXIS Monitor with the Blackmagic PYXIS 6K camera, including touchscreen and menu controls.

The full list of features and improvements includes:

• The Blackmagic PYXIS 6K camera can be used with the PYXIS Monitor with full touchscreen support and menu controls.
• Control the Blackmagic PYXIS 6K camera remotely with the Blackmagic Camera app. Using the app on an iPhone or iPad to control the PYXIS 6K’s  focus, white balance, frame rate, shutter angle and more. Start and stop recording, as well. This is great for multi-camera shoots. 
• Adds lens correction data for L-Mount lenses to Blackmagic RAW files recorded on the PYXIS 6K camera. 
• Improved battery life for the PYXIS 6K.
• Enhanced iPhone 15 Pro and iPhone 16 Pro tethering compatibility.
• When the Blackmagic PYXIS 6K’s lock switch is turned on, the built-in touchscreen is locked, but not the buttons below. That support extends to external monitors like the PYXIS monitor.
• Improves the gyro accuracy on the Blackmagic 4K G2. This helps with shot stabilization in DaVinci Resolve.

It wasn’t long ago that Blackmagic Design released the Blackmagic Camera 9.1.2 update. It added support for the PYXIS Monitor with the Blackmagic URSA Cine 12K LF along with other third-party display port USB-C monitors. Get the details of that release here.

Price and availability 

The Blackmagic 9.2 update is available now as a free download. If you own the Blackmagic PYXIS 6K camera, it’s definitely a great update. The camera’s remote control ability while using the Blackmagic Camera app for iOS is a must-have feature. Plus, full touchscreen support of the PYXIS Monitor or a third-party external monitor from the camera is another great feature. Learn more and download here.

Meanwhile, the Blackmagic PYXIS 6K full-frame camera is now shipping and starts at $2,995 (Canon EF, L-Mount, and PL), and the PYXIS Monitor is available for pre-order at $295.

Have you had a chance to shoot with the Blackmagic PYXIS 6K full-frame camera? What are your thoughts on the Blackmagic Camera 9.2 update? Let us know in the comments below!

It was a pretty big year for Tilta, which saw the release of products across multiple categories. Tripods, camera cages, matte boxes, batteries, the Tilta Hydra Alien Pro and Mini Stabilizing System, and more. The company has plenty of solutions ready for just about any aspect of production. 

Tilta offers up to 50% off, a 15% discount on most items, and more

A wide variety of products from Tilta are on sale, and the discount depends on the item. The company is offering 15% off most items and 10% off new products, and you can find discounts of up to 50%. This is a great way to add essentials to your overall production kit.

Here is a small sampling of Tilta products that are on sale:

• Hydra Alien Pro Mounting System (Gold Mount): Save up to $999 on Tilta’s new car mount that ensures smooth vehicle shots.
• The Khronos iPhone Kit is ideal for smartphone filmmakers using Apple’s pro versions of their flagship device (including Max). Kits include Ultimate, Advanced, Basic, and Lightweight, with discounts ranging from 32% to 33%. At the time of writing, the iPhone 15 Pro and 15 Pro Max are supported.
• Both the Nucleus Nano II and Nucleus-M Wireless Lens Control Systems are on sale with a discount of 15%. Both are perfect for wirelessly controlling the focus, iris, and zoom of a variety of lenses.
• Tilta Lightweight Shoulder Rig (15% off) provides a durable and lightweight shoulder rig for many cinema cameras, along with others, including the DJI Ronin 4D. It features a MANFROTTO ARCA quick-release base plate, adjustable arms, and Better Balance with a rear 15mm rod mount and NATO rail counterweights. 
• Plus, a variety of tripods, matte boxes, battery base plates, and more. If you have an idea of what you want, search around the sale page. 

Sale ends on the 3rd of January

The sale ends on 3 January 2024, so check out all the offerings on Tilta’s website (Pretty much everything is on sale)

Will you be taking advantage of the Tilta end-of-year sale? What products are you most interested in? Are you currently using any of Tilta’s products? Let us know in the comments below!

If you have followed us long enough, you probably know that we—CineD authors—actively work as filmmakers and video creators across the globe. Of course, each of us has our personal experiences to share. (Consider it a disclaimer, please: everything you read below is subjective). Yet, sometimes, it’s exciting to gather reflections from different years in one overview. So please don’t hesitate to participate and chime in below in the comments!

Reflecting on 2024 gear highlights

Gear highlights are a core focus for CineD, but with the constant stream of new releases and rapid advancements in technology, the subject has grown so extensive that it warrants its own dedicated article. Oh wait, we already have one! Seasoned cinematographer and co-CEO of CineD Johnnie Behiri urges everyone to head over to our “Camera of the Year 2024” piece. There, he summarizes cameras that impressed us most throughout the past year: from higher-end solutions like Blackmagic Design Ursa Cine 12K LF to compact mirrorless ones such as FUJIFILM X-M5. (A closer look at one of our cameras of the year, the LUMIX GH7, can be found here.

Jeff Loch—French freelance director, editor, and colorist—is a Canon shooter. His 2024 highlight was the release of the Canon EOS C400. Yet he was excited even more when the EOS C80 came out. For him, it offers everything he could’ve wished for. In the review mentioned above, Johnnie calls it “the affordable full-frame 6K RAW recording one-man-band camera,” and many other CineD writers also included Canon EOS C80 in their “best gear releases of the year” list.

At the same time, Francesco Andreola, a Milan-based filmmaker and educator, singled out the Nikon Z6III. He thinks this camera testifies to the company’s commitment to producing better tools for filmmakers—a trend that started in 2021 with the introduction of the Z 9. In Francesco’s experience, Nikon still needs to address quite a few things to compete fully with other established brands. However, Nikon has already proven that with their firmware updates, Nikon cameras get better over time, giving users confidence that they’re making a secure investment.

Anamorphic lenses become mainstream

Another gear trend that Florian Milz—the creator of the CineD Databases—noticed is the rise of the anamorphic lenses with a 1.33x squeeze. Or better said, they are becoming more affordable and mainstream. Even legendary motion picture rental Panavision embraces this squeeze factor in their own Ultra Panatar line of lenses. At the same time, there is an ever-growing list of budget competitors from BLAZAR and SIRUI.

In the picture above, you see one of the SIRUI prime lenses that came out this past autumn. Did you also notice in small lettering “autofocus”? It was exactly this that was the most interesting gear highlight of 2024 for the Vienna freelance filmmaker Jakub Han. Namely, the birth of true anamorphic lenses with autofocus (first BLAZAR and then SIRUI). He thinks shooting with AF has been normalized in many fields of our industry. So, it’s great that the manufacturers of anamorphic lenses follow along and make their products even more user-oriented for different types of projects.

Further gear and software highlights

Sure enough, we can go on about the newest tech forever. 2024 was full of interesting product releases, from wireless microphones that record 32-bit float audio (like the DJI Mic 2, RØDE Wireless PRO, and Saramonic Ultra) to the astonishing ZEISS Nano Prime lenses. As the resident creator of B-Roll footage at CineD, Florian Milz believes that for product photography, these lenses hit the spot with a very pleasant look and compact form factor. He only wishes ZEISS made a 50mm Macro lens to replace the one he currently uses most.

For Dave Kratz, a freelance documentary and commercial editor and DP, the standout gear of 2024 has been the DJI Focus Pro. While he was initially excited about the original DJI LiDAR system release with the RS3, its limitations (like being restricted to mapping three lens profiles) were frustrating.

“Now that it’s an independent system, it has become the cornerstone of my camera package. After years of leaning on autofocus lenses for practicality, the Focus Pro lets me revive my collection of vintage lenses. Shooting as a solo operator, I’ve achieved incredible results that blend classic image quality with modern convenience.”

In terms of software, seasoned filmmaker and educator Heath McKnight was excited about the first major upgrade for Final Cut Pro since 2011. Version X debuted back then and has seen some pretty big upgrades since, but kept the 10.xx numbering. In 2024, we finally met the Final Cut Pro 11:

Magnetic Mask is absolutely jaw-dropping and Transcribe-to-Captions is a feature I’ve been hoping for since some competing NLEs added it.

Heath McKnight

CineD authors reflect on 2024 main industry trends

Time flies, and many things change – not only in terms of gear but also in how we work and what our clients expect of us. In my observation, the art of corporate content in 2024 has changed a lot. The market is fed up with ads and classic image films for brands, so companies look for new possibilities to get exposure. That’s why they choose to work with social media influencers, which can hand them a target audience on a silver plate. I have a feeling traditional media agencies and video production companies will soon become obsolete (unless they find new creative ways to create films, campaigns, and strategies).

At the same time, Johnnie Behiri thinks that today, more than ever before, independent filmmakers must stay flexible and open-minded. The tech advances rapidly (and becomes cheaper) while budgets shrink, so the requirements for larger crews (for instance, for filming documentaries) became completely a thing of the past.

Dave Kratz also noticed a major 2024 trend of tightening the budget across the board (especially in the documentary series he edits). As production budgets shrink, more pressure is falling on post-production to compensate. Editors are spending extra hours combing through stock footage and piecing together interviews to create stories that should have been captured in the field.

To Omri Keren Lapidot—content creator and teacher, based in Amsterdam—it seems that we’ve reached a point where most high-end tech specs are technically impressive but bear little to no actual, field-relevant effect. He’d be hard-pressed to find an actual use case for the Sony a9 III’s 120fps for stills, for example. Omri believes that camera manufacturers (and us, their clients) would be much better off with new technological innovations. Thus, they could try to implement some computational photography, depth perception, LiDAR, additional internal camera+lens modules, and other smartphone-related tech into pro cameras, or invest in ergonomics and user experience. (Head over here to read Omri’s further thoughts on this topic).

In the major movie scene, not much has changed this past year, in Heath McKnight’s opinion. But there is one particular trend that he enjoyed. We are seeing a new wave of small indie films, whether through streaming giants like Netflix or filmmakers getting their ideas financed. It reminds Heath of the 1990s indie film boom.

Let’s touch on AI and reflect on its 2024 development

Another ongoing trend we’ve been closely observing in 2024 is the further development of AI tools (in all areas of life). In terms of filmmaking, generative AI has become one of the most controversial topics, raising a lot of difficult (and reasonable) questions. However, most CineD writers are trying to stay more realistic rather than concerned. As Johnnie puts it, we hope our audience will not dismiss learning about artificial intelligence. Like any change, it is frightening yet might bring new opportunities for those who are willing to adapt. Dave Kratz also sees generative AI as a tool with incredible potential, not just a cost-cutting disruptor. Sure enough, at the moment, it feels more like paint-by-numbers, but technology evolves quickly:

For example, I recently saw a friend create an animated short with generative AI in just three hours. Imagine what could be achieved with hundreds of hours invested—this could open the door to richer, more creative storytelling. Beyond content creation, AI could revolutionize pre-production by enabling detailed storyboarding and interactive “table reads” to align creative visions before shooting even begins.

Dave Kratz

For that matter, there are already companies that develop comprehensive AI-enhanced filmmaking applications going in this direction (and we talk about them here). Give them some extra time; they might become useful tools in your pre-production kit.

On the other hand, Florian Milz has become more skeptical and conservative when it comes to current AI developments. What he understands and uses himself are LLMs (large language models) and deep-learning tools assisting us—humans—with everyday tasks. Regarding generative AI for content creation, Florian doesn’t see us getting better at things but rather lazier and less precise. This is not the direction he wants to go himself. Has our own creativity reached its peak? Are we curious about whether machines can get better at it than we can? Fair questions.

While generative AI opens many new possibilities for storytellers worldwide (and Jakub Han emphasizes that this game-changing tech enables everyone with ideas to go after their creative vision), a lot of filmmakers are afraid of losing jobs and being replaced by AI. Not Francesco Andreola, though. He believes that there is space for AI in our industry. However, it’s just a tool that cannot replace social relationships, which play an extremely important role in our job. As he puts it, people want to deal with people. “Clients, agencies, crew, actors, talents. Everybody wants to be on set, meet other human beings, and get creative. And AI will never take that away.” I agree.

Reflecting on our learnings from 2024

As with every year, 2024 was also rich in learning. We want to pass along directly some of the personal tips and insights concerning filmmaking:

• Jeff: As much as we love gear, use it. But more importantly, love the people who are working with you on set to pull out your vision together because the other way around just doesn’t work. Never forget to have fun on set and cherish the people working with you. You never know if it’s going to be your last shoot with them; life comes and goes, and you’ll have regrets if you don’t do so.

• Dave: 2024 reminded me that filmmaking is an ever-evolving art form. It’s easy to get stuck in familiar processes, but thinking outside the box and embracing new technologies can open up exciting possibilities. Staying adaptable is essential for growth as a filmmaker.

• Johnnie: Never be afraid to ask questions or stop learning. Curiosity and enthusiasm are a big key to success! Burn your fingers with lights. Experiment with different filming/lighting/audio techniques. Learn the tools you are using to get the most out of them. 

• Mascha: Never stop learning. Even if you already have massive experience and think there is nothing new you can possibly discover from courses, educational texts, or your colleagues, that’s not true. Every encounter with other creatives can bring along fresh tips and insights. In 2024, I gained a lot of mine in visual storytelling thanks to our MZed course “Cinematography for Directors.”

• Heath: As a filmmaker, this is true every year, including 2024: the biggest tip I can pass along is to always believe in yourself and your projects. Even if you fail and/or the project isn’t great, keep going and keep believing in yourself. The films, videos, etc., get better, and you stay true to yourself as an artist.

• Florian: Having onboard backup audio recordings inside of your audio transmitter is a blessing in disguise—it can really save your ass. :)

Movies and series from 2024 we enjoyed

Of all the movies and series that came out in 2024, CineD authors mentioned a few that really stood out for us.

For Dave Kratz and me, without a doubt, it was “Dune: Part Two.” Dave explains that Denis Villeneuve brought everything together—stunning visuals, sharp storytelling, and a sense of scale that’s hard to pull off. It made Dave think about how much coordination goes into a production like that and how every decision, from design to editing, plays a role in building something so immersive. Personally, I was even more impressed with the second part than with the first “Dune” (although it was already a masterpiece, in my opinion). Thought-through camera, incredible production design, music, sounds, and multi-dimensional characters all came together in this movie.

Another release, which several CineD writers enjoyed, was the sci-fi show “Fallout” by Amazon Prime Video (both visually and story-wise, adds Jakub Han). The creators perfectly caught and transmitted the vibe of the original game, adding their own creative touch and humor and making it fun to watch.

Out of other series, Florian Milz was really invested in the show “Shogun.” Although it was rather unconventional for him almost exclusively to rely on subtitles, he liked the storytelling and visuals. For Johnnie Behiri, “Superstore” on Netflix was a great relief after a hard working day: an oldie but a goodie. And Omri Keren Lapidot found the second season of the animated series “Arcane” particularly impressive. (I can’t help but agree with him!)

Regarding other cinema releases, Florian also highlighted “Civil War.” Especially the score/soundtrack was something that made him watch it again in a short period of time. And Heath McKnight loved “Deadpool & Wolverine.” He grew up on 1980s and 1990s Marvel Comics (particularly Iron Man) and is still a fan of the Fox and New Line Cinema Marvel movies. Thus, for Heath, it was so much fun geeking out in the theater.

What we wish for you (and for us) in the new year

All things considered, it was a good year. But as usual, we hope that the next one will be even better, and we will have some things to wish for.

In terms of AI, it would be great if humanity could find a safe and reliable regulation system. As Jakub puts it, something that would help the viewer say, “This is AI.” In general, legislation worldwide must pick up with the pace of AI development, or the consequences might be hard.

Also, we hope that 2025 will bring a renewed focus on storytelling. Johnnie notes (and we agree with him): As great as they are, filming tools are just tools. Wouldn’t it be great if some of the leading manufacturers would take a more prominent stand and help educate the next generation of filmmakers and content creators about “how to tell a story”? Dave shares his thoughts and hopes that the industry invests in creativity and pushes boundaries to create memorable and impactful stories rather than just cutting costs.

Let’s reflect on 2024 together

This article was made with immense support and help from Johnnie Behiri, Nino Leitner, Francesco Andreola, Florian Milz, Jakub Han, Dave Kratz, Jeff Loch, Heath McKnight, Omri Keren Lapidot, and others.

Make sure to read our other year-in-review pieces on software trends from 2023 to 2024, tech-spec race, camera of the year, AI development recap, and more.

On behalf of the CineD team, we wish you pleasant holidays and a Happy New Year! We hope 2025 will be a great one, full of exciting projects and inspiring stories! Thank you for staying with us and being a thoughtful, supportive, and kind community!

What about your reflections on 2024? Tell us about your year’s highlights. What trends did you notice? What gear did you enjoy most? How do you feel about AI? Which movies or series released this past year would you add to our list? What do you wish for the filmmaking industry in 2025? Let’s continue in the comments below!

Feature image source: a collage made from AI-generated images (Midjourney for CineD), gear photos from manufacturers, and film stills.

ARRI has a wide range of products, from highly acclaimed cinema cameras and lenses to lighting solutions and camera stabilization systems. They have also become a specialist in virtual production. The company recently unveiled the ALEXA 265, a smaller 65mm camera.

ARRI ARTEMIS 2 Live camera stabilizer – features

ARRI has two camera stabilizer systems, the TRINITY 2 and ARTEMIS 2. These systems are modular and versatile for stabilized filming. However, with live production in mind, the ARTEMIS LIVE 2 was designed to be smaller and more lightweight. Sports, concerts, and other live broadcasts and events benefit from smooth filming, and a solution that isn’t heavy and cumbersome makes operating easier for long periods. Considering Taylor Swift’s concerts ran 3 hours and featured a variety of shooting techniques, lighter and more compact is better.

The ARRI ARTEMIS 2 Live is a highly  modular and upgradable camera stabilizer that can be adapted to fit the needs of the shoot and the operator. The post is shorter while the monitor brackets plus base mount and monitor jockeys have been designed specifically for live shoots and events. It accepts 7-inch monitors. Additionally, a second 5-inch ‘on air’ monitor can be added.

The minimalist design and construction of the ARTEMIS 2 Live is ergonomic and lightweight. And it still fits into the ARRI Camera Stabilizer Systems (CSS), which includes the TRINITY 2 and ARTEMIS 2. It also comes in Ready-to-Shoot sets, such as those designed for use with the Tiffen Volt.

Features include:

• Ergonomic and minimalist design.
• Short post for more freedom and legroom during operation.
• Specially designed lightweight monitor brackets, base mount, and monitor jockeys support a 7-inch monitor (SmallHD, Smart Systems, and TRANSVIDEO).
• Additional 5-inch ‘on air’ monitor can be added thanks to a second bracket.
• Can be combined with the Tiffen Volt by adding the ARRI gimbal.
• Adaptable to different power sources, such as V-mount or Gold-mount batteries.
• Number of components and accessories for different production needs.
• TALLY and LBUS allow for hybrid lens control of ENG and cine zoom lenses.
• Compatible with the ARRI CSS (Camera Stabilizer Systems) and upgradeable to a fully featured rig like the ARTEMIS 2 and TRINITY 2 for other types of cine-style production.
• Components can also be swapped to transform the TRINITY 2 and ARTEMIS 2 into more lightweight rigs for live productions.

Price and availability 

The ARRI ARTEMIS 2 Live is available to order now and starts at $18,000. With live sports gaining popularity and growing TV ratings, plus massively successful concerts from Morgan Wallen, Taylor Swift, Metallica, and others, the ARTEMIS 2 Live will have a great place in live production environments. Learn more here.

What do you think of the ARRI ARTEMIS 2 Live? Are you using a camera stabilizer for live productions such as sporting events, concerts or broadcasts? Let us know in the comments below!