I like many things about the S5K Freefly Ember slow motion camera – the pricing of the body itself compared with a Phantom, the edit-friendly 10-bit ProRes codec, and the newly announced replaceable media module with SDI out. Still, I frankly didn’t love the initial batch of accessories that launched with it (with the exception of the Freefly wooden handle and monitor bracket).

One of the only large issues with the Ember (both the S5K and S2.5K version) out of the box is simply a lack of mounting points on a camera that really, really needs more of them for things like wireless transmission or an operating monitor. There are a couple of tiny M4 screw holes and two 1/4-20 threads on the exterior, but that’s the extent of it – oh, and the Record button isn’t in a great place either if your right hand is actively using the handle. There is also that pesky issue of cable management (some of them of the delicate 4-pin molex type) hanging all over the place that are prone to being snagged on something.

MUTINY Freefly Ember Accessories – the Cage

Given the box-like build of the Ember, the MUTINY team could have gone a bunch of different directions with the design of the cage, but I appreciate the modular system they created that gives the user the option of leaving open places on the camera to reduce the overall weight or cover the entire exterior with mounting points.

The cage is broken into a few interchangeable pieces named simply:

• Short Plate ($50/each)
• Long Plate ($80/each)
• Block ($25/each)

You can purchase a variety of different kits with different combinations of the above. Packages save you $10 if you go that route. In general, the pricing of the MUTINY Ember cage feels very reasonable for what you are getting in an industry rife with a film and TV upcharge pricing model.

The block pieces allow you to link either short plates or long plates together to form whatever configuration you wish. Each plate comes complete with a multitude of 1/4-20 and 3/8 – 16 tapped holes and Arri locating pin holes, too. Deciding where you want short plates and long plates gives the whole feel of building out this cage a kid-friendly building blocks vibe that I appreciate, and I would love it if MUTINY extends this system to other box-style cameras.

You also get the sense that you are paying only for what you need and not for additional plates that simply won’t be required for whatever build you have in mind. There also isn’t that annoying wiggle that you sometimes get when the cage is a separate piece from the camera without enough mounting points.

One small quibble – I didn’t mind the monitor mount that Freefly created, and you unfortunately won’t be able to use that on this cage. Plus, MUTINY doesn’t make a monitor mount, so you’ll have to source that elsewhere. In my case, I went with a monitor hinge originally designed for the Canon C70 from Wooden Camera that worked fine with my Ultra 5 Bolt 750 TX monitor.

Personally, I used the Freefly branded handle with the Freefly rail on the right side of the camera, but there are a wide variety of top handles and side handles that would work great with this cage system.

The cage gives plenty of space for all the various heat sinks on the Ember body, and the cage even has a gap at the base, which allows for additional airflow. You could also run a few FIZ motor cables through the gap at the base for a cleaner build if needed.

Keep in mind that you will still need to source a baseplate from another brand if you plan on using 15mm rods as part of your build for a matte box or a follow focus.

The Power + IO Module

My first introduction to MUTINY as a company was due to their RED KOMODO OG/X power modules, SDI isolators, and custom cables, and I appreciated their attempts to add solutions for filmmakers despite not being a KOMODO owner myself. They have since branched out to support all types of camera bodies from Sony to ARRI, Blackmagic, FUJI, and, of course, Freefly.

The $800 Power + IO feels like a return to MUTINY’s roots – instantly making a camera more useful while not getting in the way of what already worked. I also don’t want to discount the included custom MUTINY cables that are exactly the correct length to bridge the gap between the Power + IO on the back of the camera.

You need the rear Freefly brackets that are included with the Ember to mount the Power + IO to the rear of the camera, and I’ll admit that these brackets take a little finesse to line up correctly (the screws from MUTINY go through the Power + IO once the brackets are affixed to the camera).

The cables included by MUTINY are a 2pin 0B to MOLEX 4 power cable and a 6pin 0B GPIO cable. Extras will cost you $65 for another set.

Freefly, initially, only supported V-mount batteries with their battery plate, and MUTINY allows you to pick either native V-mount or Gold mount plates for your Power + IO. Core SWX makes these plates, and my Nano X Micro V-mounts fit snuggly on them.

Here is a list of all the ports on the Power + IO directly from MUTINY:

• 1x 6pin 1B DC input jack (uses same DC cable as DSMC2/ V-RAPTOR/KOMODO X) 11-17 volts (do not use higher than 17v)
• 2x D-Tap power output connectors,
• 2x 2pin 0B power outputs,
• 1x Fischer 3 power + R/S 3pin port (pin 1 ground, pin 2 +, pin 3 R/S)
• 1x 6pin GPIO 
• 1x 4pin 00b CTRL (RX/TX port for future expansion)

The Power + IO powers an additional Run / Stop button ($175) that I’ve placed on the left side of the camera (exactly where my hand falls when holding the Ember while shooting handheld). You could also mount the R/S button atop a handle on the right side or really anywhere else that works for you on the camera body. The R/S system is available a la carte from MUTINY and also works with a variety of other camera bodies, including the Canon cine line, which has been updated recently.

Oh, and you can remotely trigger the camera record with the R/S Trigger box that worked well when I tested it with my Teradek FIZ, but MUTINY promises it will also work fine with “every major FIZ on the market” from the likes of ARRI, RT Motion/Teradek, C-Motion, Preston and Tilta, too.

Conclusion

MUTINY is releasing new products at a rapid pace and their support of the Ember is making that camera much more user-friendly. The cage is excellent, but the impressive Power + IO is a standout as it cleans up the overall build and provides so many inputs and outputs. There also aren’t any competing alternative options on the market for the Ember with these features as of publishing.

Both the MUTINY cage and the Power + IO fit perfectly with the newly announced Ember Media Expander (see the above image), and the Media Expander removes the headache of losing the entire camera for media dumping while filming pauses. In fact, the quick pace of both firmware and hardware releases from Freefly suggests the Ember is here to stay. Good news for Ember owners and users who are considering purchasing MUTINY Ember accessories.

Beyond the Ember – a deep dive into MUTINY’s website shows a variety of different options for everything from a cage for the new Blackmagic PYXIS, different colored timecode cables to XLR cables, and even camera body caps where you can hide Apple AirTags. All useful stuff for filmmakers, and I’m a sucker for custom cables in different colors…

Hopefully, MUTINY will continue to make other accessories for other camera bodies as their cage solution here is affordable and works well. I can also think of several other cameras that would benefit from a solution like the Power + IO.

What do you think? Are you a Freefly Ember owner? Will you be adding the MUTINY Ember accessories to your kit? Let us know in the comments below!

Many people keep using the same filters they know and love, but they often don’t realize that especially variable ND filters and circular polarizers often suffer from tinted images or a lack of sharpness. It’s time to look at a highly regarded set of filters, the Nano-Xcel Pro series from K&F Concept, and see in what regards – and if at all – they fare better and can be an “everyday set” of professional lens filters for filmmakers. I hope you enjoy a new filter review from CineD, it’s been a while!

Build quality – taking a closer look

K&F Concept’s filters stand out for their ultra-thin brass frames. CNC-machined for precision, these frames strike a perfect balance of rigidity and flexibility, ensuring smooth installation and a secure fit. The thoughtful design avoids vignetting even on wide-angle lenses, which is a common issue with many competing filters.
The inclusion of a handmade genuine leather pouch for each filter adds a touch of luxury and practicality, emphasizing the brand’s attention to detail. For the creative streak filters, aerospace-grade aluminum is used, with textured CNC trim patterns that enhance grip and usability.

Optical performance: how do they stack up?

The Nano-Xcel Pro Series utilizes advanced multi-layer nano-coating technology, with up to 36 layers on both sides of the glass. This coating ensures:

• Minimal reflectivity: Reflectivity as low as 0.15% reduces glare and ghosting.
• Neutral color fidelity: No visible color casts were observed, even under rigorous testing with a color-checker chart.
• Durability in harsh conditions: Scratch-resistant, waterproof, and smudge-proof coatings ensure that these filters can withstand heavy use.

Compared to other filters on the market, the Nano-Xcel Pro Series achieves a remarkable balance of maintaining optical clarity while protecting against environmental wear.

The lineup in the Nano-Xcel Pro Series

CPL Filter

Designed for landscape and outdoor photography, the CPL filter excels at eliminating reflections and enhancing contrast. In our tests, it delivered vivid skies and clearer water reflections without any noticeable distortion or softening of the image.

ND2-32 Variable ND Filter

The ND2-32 filter offers a versatile solution for controlling exposure, especially for video work in changing light conditions. Its smooth adjustment mechanism and lack of cross-patterning—a common issue in variable ND filters—make it a reliable choice for professional videographers.
However, a notable gap in the lineup is the absence of a stronger variable ND filter (6-9 stops) in the Nano-Xcel Pro Series. While the ND2-32 performs well for moderate light reduction, a higher range would be invaluable for photographers and videographers working in extremely bright environments, such as midday outdoor shoots or long-exposure photography. Including such an option would round out the series and make it even more competitive.

CPL & ND2-32 Hybrid Filter

This combined CPL and ND filter provides a convenient, all-in-one solution for filmmakers and photographers. During testing, the ability to manage both reflection and light intensity simultaneously proved invaluable in dynamic shooting scenarios, such as coastal landscapes or reflective urban environments.

A standout advantage of this combination is how it enhances the versatility of the variable ND filter. By design, variable ND filters are made from two polarizers stacked together, which means they can inadvertently affect reflections in the image. For example, when filming a subject looking at a smartphone screen, you may notice the screen becoming unnaturally dark or black due to the polarizing effect. This can be frustrating in scenarios where accurate reflections are essential. The CPL & ND2-32 hybrid filter addresses this issue by giving you precise control over reflections independently of light reduction. This added adjustability ensures that reflections, such as those on water, glass, or electronic screens, can be fine-tuned or neutralized as needed—an invaluable feature for both videographers and photographers.

By combining these two functionalities, this hybrid filter doesn’t just save space in your kit; it actively solves a common issue with traditional variable ND filters, making it an excellent choice for professionals who demand greater creative control.

Creative Streak Filters

The Blue Streak and Gold Streak filters cater to filmmakers and photographers looking for a touch of anamorphic magic. These filters produce linear flares that enhance cinematic visuals without degrading sharpness or detail in the underlying image. They are, of course, only giving you the “streak effect” typical for many anamorphic lenses, not the actual image squeezing or oval highlights, but that is a “nice to have” effect in some occasions that is not all that easy to mimic in post-production.

Durability and warranty: built to last

With a 10-year warranty, K&F Concept demonstrates confidence in the longevity of their products. The brass and aluminum frames, combined with robust coatings, ensure these filters endure heavy use without compromising performance. Each filter also features a unique identification code for warranty claims, underscoring the brand’s commitment to quality.

Who are these filters for?

Whether you’re a landscape photographer capturing vivid scenery, a videographer seeking control over exposure, or a filmmaker experimenting with creative flares, the Nano-Xcel Pro Series has something to offer. However, for those needing a stronger variable ND option, you may need to look beyond this lineup for now.

Conclusion

K&F Concept’s Nano-Xcel Pro Series delivers on its promise of high-quality optical performance and robust design. While not without competition, these filters stand out for their innovation, attention to detail, and exceptional value. Addressing the lack of a higher-stop ND filter would make this lineup even more versatile and appealing.

Black Friday Giveaway by K&F Concept

As Black Friday approaches, K&F Concept is already offering exciting giveaways—a perfect opportunity to invest in these outstanding tools. Apart from that, the company is also offering up to 50% off on many of their gear. For more info, please visit their Amazon store or website.

What variable ND and CPL filters do you use and trust? How does the K&F Concept Nano-Xcel Pro Series sound to you? Let us know in the comments below.

We already wrote about the Trexo Converta Video Slider when it first became available. If you are interested in all the specs before diving into my review, you can quickly catch up in this article.

Now, let’s get started: First, since this is my first time working with a Trexo product, let’s start by breaking down the various configurations you can build with the Converta Video Slider. The Converta packs a lot of features into two core packages with an optional upgrade and a variety of additional accessories for various tasks:

• Converta 600 – 23.6″ (0.6m) Operation Length ($495 for the ‘Lite Package’)
• Converta 400 – 15.7″ (0.4m) Operation Length ($395 for the ‘Lite Package’)

The ‘Standard’ optional upgrade adds an additional $100 to the overall cost and adds a turntable plate to either the 600 or 400 and the necessary mounting point for the turntable. Beyond that, you have the choice of several a la carte accessories that are all compatible with the Converta and the Trexo Converta phone app.

Those optional additional accessories include:

• 3-Axis Kit ($795)
• Carry Case ($100)
• L-Brackets ($70)
• Pan Tilt V2 Module ($395)
• Phone Holder ($25)

Initially, I was confused as to whether I needed the L-brackets and the 3-Axis Kit, so I want to define the above list a bit – if you purchase the 3-Axis Kit, it includes two V2 Pan/Tilt modules and both the needed L-Brackets for motion pan and tilt moves.

Do you need the 3-Axis Kit? It depends. If you are only interested in creating a roving B-angle on interviews (a common use case) you will only need one Pan Tilt V2 module that is panning with your subject and connected to the Converta and app. However, if you want to create diagonal 3-axis moves or a timelapse (perhaps of a statue to the sky), you’ll need the 3-Axis Kit.

There is one accessory that Trexo does not provide: a timelapse trigger cable. For that, you’ll need a 2.5mm timelapse cable, and I purchased one made by Vello from B&H for my Sony a7RV. It wasn’t expensive.

First impressions

The soft case for the Converta contains different spots for each of the various components and a few pieces of pre-cut foam. Unfortunately, this is not something I would check on an airplane, and I would be cautious about transporting this kit. Exploring some kind of hard case option is definitely needed here unless you plan to keep this slider in a studio without transporting it around.

Packaging aside, one of the more impressive things that struck me when first diving into the Converta is what a Swiss army knife this slider truly is, and the fact it isn’t many thousands of dollars to purchase is pretty incredible. It’s one of those products that is tricky to talk about because I only have the space to cover a few use cases, and there are so many other options beyond what I discuss here – including stop motion!

My introduction to motion control started years ago, working on motion time-lapses and other normal slide moves for a Discovery show in Utah, and those initial experiences weren’t too fun. Tons of cables hanging everywhere, low weight capacity, motor belts that always seemed to be slipping, a tiny speck of dust seemed to make the motion of the move bumpy, and the whole rig required expensive batteries that only worked on that one rig and didn’t work on any of the other camera systems I had with me. It was, in short, a bummer.

The team at Trexo has clearly worked hard to alleviate many of the pain points of other motion control products. For one, the general weight capacity is great, and because of this, you can use a wide range of camera systems with the Converta. Here are the weight limits broken down by how you have the slider and turntable oriented:

• 22 lbs (9.98 kg) in Horizontal Mode
• 6.6 lbs (3 kg) while in Inclined Mode (defined as a 22.5-degree incline by Trexo)
• 17.6 lbs (7.98 kg) while descending in Vertical Mode
• 11 lbs (5 kg) capacity for the optional turntable

A few more weight limits to keep in mind when using the 3-axis rig and V2 module in conjunction with the Converta:

• 11lbs (5 kg) weight capacity in 3-axis mode (two V2 modules + brackets)
• 6.6lbs (3 kg) weight capacity if only using one pan/tilt V2 module

Note: Rigging the Sony a7RV on the top tilt module required me to add a Wooden Camera baseplate to move the camera back and forth to perfectly balance. It doesn’t like having a lens forward too far, or it will give you an “obstacle detected” warning in the phone app. I didn’t receive this warning when using the iPhone.

Okay, moving away from weight capacity…

The design of the slider itself is matte black with the occasional red accent point – one of the main spots painted red is a series of 1/4-20 mounting points that seem perfectly placed for a small monitor to view the camera angle during operation.

There is a warning label telling you not to touch the screw system inside the opening in the slider, and indeed, I would be careful of letting anything fall into the slider opening that could cause unwanted bumpy spots.

My main takeaway from opening the Converta box for the first time is that it seems like this whole kit should be more expensive, but who am I to complain? You have to keep in mind I just came off two shows back to back where I used a motion slider for roving wide shots, and that whole system was much, much more expensive, but I didn’t have access to the Converta at the time.

Operation

The biggest point of failure I see in the operation of motion sliders is right at the end of the track when the move stops and shifts direction – that’s where things usually start to go downhill. I’ve worked with systems where you see a noticeable shift at that point in the move, and it shows up in the footage.

Somehow, the $495 Converta shines here, and the camera slides to the end of the track and shifts direction smoothly in a way that is very, very hard for a human operator or other motion sliders to replicate. This, right here, is a reason to add the Converta to your kit. This makes it incredibly useful as a roving B-angle in an interview because you can use 100% of the motion in the edit and not have parts of your shot that are too jumpy. Also, the face tracking feature keeps the subject centered and in focus, making it ideal for filming a moving presenter. With built-in mounting ports, you can use your smartphone as a monitor or for easy setup and control.

I find both the app and the control panel to be intuitive and user-friendly. Gone are 3D representations of hundreds of keyframes and nebulous names for different features – everything is easy to navigate, making triggering time-lapses or setting moves or overall speed very simple. One thing to note is you’ll need to set your keyframes before you can move over to select the interval in the timelapse menu in the app.

Of course, you are going to still need to think about all the things you normally would when shooting a timelapse, such as star tracking or an ND filter to allow you to drag your shutter more during the day, etc. The slider is really just doing the work of moving your camera and triggering your shutter at whatever interval you decide.

Everything in the app is built around a “Timeline” tab that serves as a representation of the move you are trying to create. Simply hit the plus button at the top to add a keyframe, or use the joystick to move to a different keyframe while clicking the speed button to make it a slow or fast move. If you use the 3-axis accessory, you will suddenly be able to use the joystick to set keyframes in any direction you can think of. Cool.

Worried you might bump your tilt when panning to your preferred framing? You can lock your tilt or vice versa to allow you to focus on moving one axis at a time. All of this made a ton of sense to me (not someone who has built a career in motion control), and I appreciate how I’m not being overwhelmed by various menu options – Trexo has kept the system streamlined.

Oh, and you can even save your programmed move and use it again in the future.

Power for the Trexo Converta

Trexo has made the decision to go with USB-C chargeable internal batteries for both the Converta and the pan/tilt modules.

Battery life per charge will vary heavily with how much you are using the slider and the modules, but I found I was getting about five hours with the Pan/Tilt V2 modules running fairly often with a 3.2lbs Sony a7RV camera and smaller SIGMA lens. The slider itself lasted several hours for me before I noticed the battery indicator getting low. Still, I’ll admit it is slightly tricky to judge the overall time for this because I am constantly using it in all sorts of different modes with different rigs and lens changes.

Using my Apple Macbook Pro charger to charge the modules and slider is incredibly useful because I’m often on smaller crew travel jobs internationally, and taking fewer chargers and battery types with me means less carrying from airport to airport. Built-in batteries are a small but meaningful feature to me, and of course, you could always take a camera battery with USB out and charge the slider up that way, too, in the field.

However, lithium-ion battery technology only has a set number of recharge cycles (often measured in the hundreds and thousands, but you will have to swap out an internal battery someday, and that means a shipment back to Trexo for service at their European or US location) so, that is something to keep in mind.

Final thoughts about the Trexo Converta

For my first time working with a Trexo product, I was surprised by just how much I enjoyed using the Converta Video Slider. It’s easy to control, has a weight limit that fits most of my cameras, and is small and simple enough to bring along and add production value without the headache of multiple re-takes.

I don’t think this would make a great rental unit because of the soft case, internal components, and relatively affordable price tag, but for owner-operators, the Converta makes a lot of sense. It also takes only a minute or two to set up this slider as a B-angle on an interview, and then you can literally back away and concentrate on operating the A-camera. The fast setup time may be one of the biggest draws with the Converta.

Whether or not you need the additional cost of the 3-Axis Kit or the turntable will be up to you, but there is a case for buying the slider in your preferred length and building the kit slowly over time as you become more comfortable with its usage. In short, the Converta punches way above its weight and is worth a look.

What do you think? Will you be adding the Trexo Converta Video Slider to your kit? Let us know in the comments below!

The RØDECaster Video feels like merging the Blackmagic ATEM Mini Pro ISO with the RØDECaster Pro II, offering a unified solution that handles both video and audio production in one device. This aims to give you the benefits of both systems in a more compact and efficient setup. In this first-look review, let’s check if this wish can be realized.

Camera Input options

On the back of the RØDECaster Video, you find an impressive amount of in-and outputs. It features four HDMI inputs and two flexible multi-purpose USB-C ports (USB 4 and 5) that allow for connecting and switching between six video sources, including USB webcams. The two HDMI outputs are for connecting displays for monitoring and outputting your production, and you can select which video feed you want to send (Program, Preview or Multiview). 

Audio features

On the audio side, it features two studio-grade Neutrik combo jack Preamps with up to 76dB of Gain (you don’t need any signal booster or cloud lifter for powering low-output dynamic microphones that are often used for podcasts like a Shure SM7B) for capturing pristine audio from XLR microphones, instruments, and other audio equipment. In addition, you can use the two multi-purpose USB-C ports (USB 4 and 5) to connect RØDE USB audio devices such as the RØDECaster Pro II and Duo, as well as a range of RØDE USB microphones, including the NT-USB+, PodMic USB and more.

Unfortunately, only RØDE USB microphones are compatible here. Still, it’s the first interface that I know of that combines classic analog XLR inputs with the ability to add digital USB microphones as well. 

There’s onboard DSP (digital signal processing), too, so you’ve got compressors, noise gates, de-essers, and the Aural Exciter all at your fingertips, powered by APHEX. And if you want to monitor audio, there are two headphone outputs and two balanced 1/4-inch line outputs for speakers.

Other USB connectivity

Beyond the two multi-purpose USB-C ports, you’ve got three additional USB ports. USB 1 lets you send a live video stream along with multitrack audio. USB 2 is where you connect to the RØDE Central app to configure and control the device—it’s also an extra audio interface. Plus, it’s MFi-certified, which means you can hook up your iPhone or other smartphones to send and receive audio. USB 3 is reserved for external storage devices, like hard drives or thumb drives.

Recording and streaming capabilities

You can connect external hard drives to the RØDECaster Video, which supports Isolated Recording (ISO). This feature allows you to record each of the six video inputs separately, along with the program feed, as individual H.264/AVC files at up to 1080p30. However, unlike the ATEM Mini ISO, it doesn’t offer an XML or project file for direct import into an NLE for editing. Hopefully, RØDE will add this feature in a future update, because this is something that’s extremely convenient with the ATEM series (and a standard workflow we use on our weekly podcast production “Focus Check”.

The RØDECaster Video features a microSD card slot that can be used to store videos, images, graphics, and sounds.

Additionally, you have an Ethernet connection and WiFi ability with the two dedicated antennas on the back that allow you to control the device remotely but also enable the option to stream directly to YouTube or Twitch by adding the Server and Stream Key directly in the RØDECentral app without using any additional software as OBS or Streamlab.

Buttons and UI 

On the top, there’s a 2-inch touchscreen along with two rotary knobs for navigating menus and adjusting settings, like volume. You’ve got six buttons for switching between video sources and seven additional customizable scene buttons.

If you connect a display to the Program or Multiview output, you’ll get a full overview of your sources and audio levels. There’s also a handy recording window that shows if your recording is active and how much storage you’ve got left on your connected drive.

Summary

The RØDECaster Video is an all-in-one device for anyone looking to streamline their video and audio production. It combines a powerful video switcher with a full audio studio, offering high-quality preamps, multiple inputs and outputs, and advanced DSP processing—all in a single unit. It’s a very tightly packed, small device with a lot of capabilities, and we will continue to try it out in the weeks to come for a more detailed assessment.

Price and availability

The RØDECaster Video is available for $1199 and will be available exclusively through B&H at release.

What do you think about this combination? Have you ever used a RØDE audio product before? Let us know in the comments down below!

Perhaps no filmmaking tool can be more of a headache or more of a useful tool than the humble tripod. I may grumble when I pay a high price for tripods, but the alternative (purchasing something cheap that doesn’t work) is a much worse fate. I don’t like cutting corners with my tripods because I depend on them while filming all over the world in environments as varied as the jungles in the Philippines to the F1 race tracks in Europe.

As I’m sure you know, the repercussions of a tripod failing or tipping over can be catastrophic. I never understood filmmakers who purchase an expensive camera and then skimp on the media, accessories, or a tripod. In my humble opinion, that way lies disaster.

If you’ve followed my other product reviews, you’ll already know I tend to be skeptical when manufacturers move out of the product categories they are known for. SIRUI’s affordable anamorphic and spherical lenses almost occupy a low-cost price category of their own, and they support a ton of different lens mounts—everything from the Z-mount to RF and L and everything in between.

Low-cost options continue in the tripod category, with everyone from Tilta to Ulanzi and SmallRig offering new tripods in an attempt to carve out their own niche.

These reviews must become even more discerning because there are now so many products to compare with the SIRUI SQ75 legs paired with VHS10. For me and all the filmmakers out there, more options are a good problem to have.

So, let’s dive in.

Initial impressions

The tripod itself is primarily gray and black, with touches of the SIRUI company brand blue here and there. The system, at least in this first new release batch, ships with a ground spreader and mid-level spreader (you often must choose one or the other from more premium brands). It is constructed from aluminum, carbon fiber, plastic, and the occasional steel components.

Remove the tripod base, and you’ll see the feet are spiked for use in grass, dirt, sand, or other environments where the ground could be slippery.

Carrying tripods can be a bit annoying (plenty of places to pinch yourself). SIRUI has responded by including a comfy handle that connects right to the top part of the SQ75 legs with an included Allen key and little pins that prevent the handle from spinning. The Allen/hex key stores right inside the handle – which is a nice touch, too.

Everything ships in a soft case that, unfortunately, does not have an external or internal envelope for storing accessories. This is a bit annoying because if you decide to use the mid-level spreader, you have no neat compartment to store your ground-level spreader in, or vice versa. Depending on your rig, another pocket would also allow you to store extra camera plates or even a VCT plate accessory. I would not recommend checking this tripod in the soft case without adding additional padding.

Let’s dive into the advertised specs for this tripod:

• System weight: 5.89 kg/13 lbs
• Seven steps of counterbalance
• Weather resistant fluid dampening design
• Working Temp Between -30C to 70C / -22F to 158F
• 3+0 Tilt / Pan Adjustment
• Load Capacity for VHS10 Head: 9.97kg/22 lbs
• Load Capacity for SQ75 Legs: 17.7kg/39 lbs
• Price: $499.00

Balancing your camera rig as you move it from a gimbal to a tripod is easy with the battery-operated light bubble level and the top-of-the-head distance markings. The bubble light battery is quickly replaceable and looks like a common watch battery.

Raise everything to its top position, and your camera will be a little over 5.5 feet off the ground. However, it is worth keeping in mind that this isn’t a high hat, and you’ll only be able to stay about 2.1 feet off the ground at the lowest point.

SIRUI SQ75 tripod – competitors

If you caught any of our NAB 2024 coverage, you would have already seen lots of discussion about new tripods from the likes of FALCAM/Ulanzi and SmallRig and a monopod from YC Onion and iFootage.

In marketing materials, SIRUI compares their tripod to the SmallRig AD120 and the Ulanzi Video Fast (both priced at $599). The Ulanzi and SIRUI tripods have similar load capacities of 9.98kg/22 lbs, but the SmallRig AD120’s is a few pounds less, at 7.98kg/17.6 lbs.

Tilta also now has a 75mm tripod with a similar load capacity to Ulanzi’s Video Fast, but it sports a pricier $999 price tag as of publishing. Is your head swimming a bit? Mine too.

Due to the mirrorless camera revolution and the move toward smaller lenses (some from SIRUI), we don’t need the load capacity we used to. Even mid-body cinema cameras like the upcoming Canon C400 or the Sony FX9 aren’t that heavy fully rigged out.

A good tripod

What are the qualities of a good tripod, you might ask? Load capacity and overall weight (you’ll be lugging this thing around) need to be considered, but I’d like to add a third quality, which might be less obvious. For me, the tripod serves as an extension of my creativity, and as such, it has to be easy to use—so easy that I’m able to work off motor memory to grab a shot quickly before the moment is gone.

Cost is a consideration, but most tripods should be tools that last for years without requiring frequent service.

Usability

My favorite feature of the VHS10 tripod head is the handle for the 75mm half bowl. One time-consuming aspect of tripods is the need to transfer the tripod head back and forth between a slider (perhaps a Dana dolly), as unscrewing the tripod head from the legs always takes time. For this, SIRUI engineers devised an interesting solution: unscrew the handle a few rotations and then hit a blue button to instantly remove the tripod head from the legs.

Are you worried about hitting the blue button early? Don’t be. The design makes it impossible. The design also takes a few seconds off the process of separating the legs from the head. This is very, very cool and maybe my favorite innovation in this tripod. If you can try this tripod out at a trade show or a retailer show, I encourage you to demo this part because it might be one of those features you wish you’d always had.

I wasn’t able to test this out myself because I don’t have those gimbal plates, but the tripod head should accept both the RS2 and RS3 gimbal plates as well as those from DJI.

One of the actions I care most about is the ability to raise or lower the tripod to different heights. Most designs I’ve seen these days allow for unlocking one mechanism per leg to raise or lower the tripod, and this has removed the annoying need to unlock multiple knobs at different heights. Three large locking blue knobs (see the above image) allow for the raising and lowering of the legs (always taking care to have one hand on the camera for safety). A satisfying click sounds when the legs lock into place. SIRUI seems to recognize the knobs as a potential point of failure or weakening over time, so you have direct access to the screws if you need to tighten or replace them.

I will say the blue knobs could be machined a bit around the edges as I found them slightly sharp to grasp quickly while working. I want to be clear here that they certainly won’t cut you, but they aren’t that comfy to grasp in a hurry.

The 7-step counterbalance system is solid and if you take care to keep your camera within the payload limit, you’ll find the tripod head works with you to keep your shots smooth and to remove the feel of the weight from the camera. In a sense, it feels like power steering. Additionally, you don’t have that annoying sound I’ve experienced with other systems when the tripod clicks between stages during a pan or tilt.

Another impressive part of the VHS10 head is how close to 90 degrees you can tilt it when pointing down. You can also tilt almost straight up (about 60 degrees). Product shooters will appreciate that 90-degree tilt and the fact that you have such a wide range when tilting makes it a bit easier to under-sling this tripod head compared to other tripods I’ve used in the past.

Final thoughts

Purchasing a tripod is always a bit of a dance. You need a tripod that handles the maximum weight of your camera but gives you some flexibility if you want to add a heavier zoom or FIZ gear. In instances where you are filming alone, you don’t want the tripod weight or operation to slow your pace. SIRUI has balanced these considerations well here with a 5.89kg/13 lb tripod that doesn’t break your back to carry while giving you a 9.97kg/22 lb payload capacity that will fit well with various mirrorless cameras and even some smaller/mid-sized cinema bodies.

Both the SQ75 tripod leg together with the VHS10 head are shipping as a set now for $499 $399, and I’ve been told by the SIRUI team that a 100mm version could arrive as soon as Q4 2024.

What do you think? Will you be adding this new SIRUI tripod to your kit? Let us know in the comments below!

Today on our table is the newly announced TEAMGROUP T-CREATE CinemaPr P31 2TB External SSD. TEAMGROUP is a Taiwanese company that specializes in providing storage solutions, and in this review, I’ll be focusing on a product made by one of their sub-brands, T-CREATE. 

TEAMGROUP T-CREATE P31 – reviewing an SSD or a memory card…

Normally, reviewing a memory card or SSD is not that easy since those products are not as engaging as cameras or lenses, for example, but of course, they are essential for our productions. Also, usually, transfer rate and “other numbers” make it confusing or not so appealing to talk about so I’ll simply concentrate on facts. Can this SSD sustain the stress or not?  

Well, according to our tests, it certainly can, and this is why I’m excited to share my thoughts about it.

First and most importantly, it is a dedicated SSD for filmmakers, meaning that a lot of thought went into designing this product so it can be used easily in the field as an external recording device. One has to love the multiple 12 1/4” standard screw holes and set of bundled screws on this unit. Those are there in order to allow for multiple attachment possibilities directly to cameras or cages. 

The IP67 certification means this device is shock resistant next to being water and dust-proof. And indeed, in our testing, we confidently simulated using it in various outdoor situations. Even the 3.2 USB-C connector matches the IP67 certification. Apparently, there is some sort of O-ring inside, which also renders the connector waterproof. Please note that it is highly recommended by the manufacturer to dry the USB-C port BEFORE connecting the cable to it in case it gets wet.

When it comes to durability in general, since the T-CREATE CinemaPr P31 is formed by CNC precision machining, it makes the product more durable, and the aluminum surface helps with heat dissipation. It is worth noting that in our testing at the time, the SSD got hot, but never to the point that it failed us and stopped performing. 

When it comes to usability, I simply enjoyed using this external SSD solution. It looks good, and it is small and lightweight, so I don’t have to think twice about taking it with me wherever I go. 

Just to prove a design point, even that rubber surface part is useful. The SSD won’t slide away, no matter where it sits. 

In reality, what I used it for mostly was mobile editing because it is fast and durable, and the 2TB capacity was right for my needs. It is worth mentioning that 1TB and 4TB SSD versions are also available for purchase.

When it comes to testing it for camera recording, we paired the SSD with the SIGMA fp camera and recorded a Cinema DNG RAW externally in its highest 4K resolution and 12-bit format. I’m happy to report that we simply had no issues. We did the same connecting the SSD to the new LUMIX GH7, and recorded externally to ProRes RAW, and again with full success. 

And “a word of advice” – if your camera supports USB-C recording and storage, it is recommended that you visit your camera manufacturer’s website or visit the P31 official website to find out if there are models that support USB-C.

What can be done a bit better?

If there is anything that I would have loved to see enhanced, it is: 

• The ability to attach this device magnetically to the back of an iPhone 15 Pro. I mean, TEAMGROUP has a dedicated unit that does exactly this, yet if I don’t want to invoice twice, I would have preferred this SSD to be better integrated with a mobile phone workflow.

In terms of pricing and availability, the TEAMGROUP T-CREATE P31 2TB is now available at Amazon.com for $299.99 (€335.96 on Amazon.de), while the 1TB is being sold for $169.99 (€224.46 on Amazon.de), and the 4TB version for $499.99 (€558.99 on Amazon.de).

• And this brings me to my next remark. I wish there were additional sales channels for buying this SSD. Currently, this product is being sold via Amazon only, and I would have loved to see it sold via other established retailers, too. 

Are you familiar with products from TEAMGROUP? If not, what other SSD solutions are you using for external recording and editing? Please share with us your thoughts in the comment section below.

Quick and easy-to-deploy tripods are all the rage these days. I reviewed version 2 of the YC Onion Pineta Peak tripod, which we originally reported about with a gear news video from IBC in 2022, after which it was refined and updated in 2023 (another video here). Now, we have the production version of this here for review. I tested the carbon fiber tripod; the aluminum version was discontinued. 

One-clutch design – pioneered by Sachtler with the Flowtech

The one-clutch design at the top of the legs was made popular with the Flowtech by Sachtler – here’s our hands-on video. I’ve also reviewed the SIRUI SVT75 tripod, which uses a similar design but seems to be discontinued because it’s not available online anymore. However, viewers have asked us to review the YC Onion Pineta Peak and compare it to the Flowtech.

YC Onion Pineta Peak tripod – first impressions

First impressions of the YC Onion Pineta Peak: This is a refined product! You can tell from all the details that they’ve done their homework thinking about what really matters on a tripod in the field. Materials are high quality; there is nothing that makes me immediately think, “This will break at some point.” It’s also very lightweight, with 3.5 kilograms or 7.7 pounds. Interestingly, the maximum payload of the legs is a whopping 35 kilograms or 77 pounds, so exactly 10 times the weight of the tripod itself. 

That is the same weight as the Sachtler Flowtech, but somehow, subjectively, it feels lighter to me – that might be because of the leg profile, which is a more traditional round telescopic shape rather than the wide shape of the Flowtech legs. The round legs are a bit easier to grab. 

Clutch design for fast deployment – does it work well?

The clutches on top of each leg are very easy to open and close – which is important because you do end up opening all of them at once in order to change the height of the tripod. YC Onion calls this the Feiso release system, and like the Sachtler solution, this is also a patented design, so it seems to work in a different way. Also, because the clutches are next to each other, you can even balance the tripod just by adjusting all three legs at once if you want, in case you are not using a ball head, and that works fairly well – so it’s basically adjusting the height of your tripod and leveling it all at once if you want. For that reason, there is also a bubble level indicator directly on the legs next to the bowl. Despite the fact that the clutches are easy to open and close, there is really no drift in those legs. I can almost hang onto the tripod and it won’t collapse any of the feet, which is really great. 

Convenient leveling: included Coconut bowl head

Let’s stick with the subject of leveling. The Pineta Peak tripod from YC Onion comes with the so-called Coconut bowl head by default. It’s a simple leveler with a 3/8 inch thread to attach a flat mount head on top, and it has a separate bubble level. Plus, the way it’s locked and unlocked is extremely convenient – just a little lever on the side. You only need to unscrew the bottom to remove it altogether. And then you can, of course, use most other standard 75mm heads with these tripod legs. YC Onion offers their own FH75 fluid head as an option, which can be directly attached to the Coconut bowl. It’s a very basic head without any counterbalance adjustment, but it’s also quite inexpensive if you need an additional head for a locked-off tripod shot. A neat feature on this head is the ability to switch between the standard Sachtler-type plate to the DJI RS2/RS3/RS4 plate if you are at a shoot working on a gimbal and need to switch back and forth to a tripod from time to time. Another thing is the way the handle extends, which feels almost magical and is extremely practical. 

Central shaft accessory

Talking about optional accessories, YC Onion also offers a central shaft that is 50 centimeters or 1.6 feet long. It attaches inside the bowl using a one-lever system, and the other lever can then be used to release or lock it. What’s cool is that the column can also be mounted upside-down if you want low-angle shots with your camera. Now, here’s a little caveat: we tried to use the center shaft setup of the tripod with a motorized slider, and it did end up moving quite a bit toward the end of that movement. Carbon fiber can flex quite a bit; this is a known issue, so if you want more stability, I recommend using the standard setup with a bowl head instead of the center column. 

Lock buttons on legs – do we need them?

Back to the legs! On top of the legs, there are lock buttons on the unit that I was provided with for review. When pressing these buttons, the legs will stay in place, and the entire tripod can be carried. YC Onion informed us that future models of the tripod will not have the locking buttons, and I understand why – because you can’t unlock the buttons without also unlocking the angle adjustment of each leg. In order to lock the angle in place, you push this area back in. Right now you can still order this version of the tripod with the lock buttons on their website, but they said because some users felt confused by how this works, they decided to remove it. With a mid-level or ground spreader attached, the legs will stay in place anyway when collapsed and put together. 

The Pineta Peak also comes with a convenient carrying handle that is comfortable to hold. Using this handle is a smart choice because carrying it by one of the legs without engaging the locking button could cause the legs to spread.

The top section of the tripod also features quarter-inch and 3 over 8-inch threads to attach accessories, for example, with a Noga arm. It’s great that they also thought about adding ARRI locking pins so the arm itself doesn’t turn when attaching or moving it. 

YC Onion Pineta Peak goes very low – and quite high

The Pineta Peak is quite versatile when it comes to height adjustment – it can go as low as 16 centimeters or 6.3 inches and as high as 155 centimeters or 61 inches. With the optional central shaft accessory, you can reach up to 185 centimeters or 73 inches. 

Mid- and ground-level spreaders: innovative implementation of an often-neglected accessory

There is both a mid-level spreader as well as a ground-level spreader for the YC Onion Pineta Peak tripod available, so let’s take a look at the mid-level spreader first. The attachment system is quite smart and straightforward, it works by twisting and pulling back. Of course, there are the length adjustments, and in the middle, there is a moveable adjustment switch that lets you choose between three different angles. In the middle, it even features a retractable quarter-inch screw that can be used to attach accessories. You can also take the mid-level spreader itself and use it as a mini table tripod, which is a very smart additional use for it!

The ground-level spreader also features a very convenient quick-release design that works a little differently from the mid-level mechanism but is even easier to use – which, in my opinion, is quite important when working on the floor as you really want to be fast with this. To extend the three legs of the ground-level spreader, there is a push button on each one, and then you have several steps of adjustments. The ground-level spreader itself is made of carbon fiber, too, like the rest of the tripod and also the mid-level spreader – but on a ground spreader, this almost feels excessive since I am a bit worried about scratching or breaking it when working with it outside on gravel. Then again, ground-level spreaders are a better fit on even surfaces like inside a studio or on concrete, so you should be fine if you take good care of them. 

Rubber feet are attached magnetically

While we’re already on the floor, let’s talk about the feet. YC Onion has introduced new spikes in the second version of the Pineta Peak tripod, featuring magnetically attached rubber feet. This design is super convenient. You can only remove and attach the rubber feet when you angle them in as shown below, so there is no danger of actually losing them in the field. This makes them significantly easier to attach and remove than on other tripods. 

Conclusion

YC Onion introduced some really smart ideas with the Pineta Peak, and it’s nice to see that they are constantly enhancing the product – which might make it hard to see which version you have, but ultimately it’s good for the product. It’s a tripod that “just works,” and you will know your way around it quickly since it has a very intuitive build. I can see this tripod becoming a standard tripod for small to medium-sized camera setups, but I would recommend using it with a higher-end fluid head than the little add-on fluid head that YC Onion offers. 

And how does it stack up to the Sachtler Flowtech? It’s hard to tell which product works better for me since they are both well thought out, and the lever design on both of them works really well. However, the YC Onion Pineta Peak costs less than half of what the Flowtech costs, so YC Onion wins the price/performance competition. It’s fair to say that it’s time to look beyond the traditional tripod manufacturers these days as there’s lots of serious innovation in tripods coming out of Chinese companies, and YC Onion is leading the pack with their Pineta Peak tripod. 

What do you think about the YC Onion Pineta Peak tripod in comparison to the Sachtler Flowtech? Let us know in the comments below!

More functions in a smaller form factor

The biggest difference between the old version and this one is one you notice straight away – the size and weight of the product. The older Micro Panel was around 42 cm / 16.8 inches wide and 26 cm / 10 inches deep at a height of 7.5 cm / 3 inches and weighed 3.5 kilograms or 7.7 pounds.  The newer version was slimmed down to 36 cm / 14.1 inches in width, 19 cm / 7.4 inches in depth, 4 cm / 1.6 inches in height, and only weighs 1.18 kilograms or  2.6 pounds.

Other physical differences include the iPad holder groove at the top of the new version and the fact that it has more buttons. Not only that but the new Micro Color Panel also introduces shift buttons that add even more functionalities to some of the controls. This is a truly portable device that you can put in your backpack together with your iPad Pro and it enables you to professionally color grade on the go or on set.

Trackballs and rings

Just like the previous version, this model features three trackballs and rings. These either control color balance adjustments and exposure for the shadows, midtones, and highlights – or (when offset has been selected) color temperature and tint as well as master color and exposure. The new trackballs and rings are smaller than those on the previous version and are made out of plastic. They still feel well-produced and have good inertia so they will only continue to spin for a short distance once you let go. 

Buttons and dials

The dials at the top of the panel closely resemble those of the previous model although their layout has changed slightly. Instead of 4 groups of 3 buttons, we now get 3 groups of 4 buttons, which might take some getting used to if you have been using the previous model. 

The biggest difference between the two models definitely lies in the layout and functions of the back-lit soft touch buttons. They have a nice click to them and travel a lot easier than the ones of the older Micro Panel, but it feels like they could be much easier to activate by accident. 

The button layout has changed quite a lot with some buttons moving from the right side of the panel to a newly created column on the left side. Here at the very bottom, you will also find the newly introduced shift buttons. These are exciting additions since they add a lot of functionalities to the panel. 

Useful functions

Before using the Micro Color Panel, if you wanted to create, size, and track a window, this would all have to be done via the user interface on the desktop. Now, by pressing the ‘add window button’ and then holding shift, you can resize the window, add or subtract feather to the edges, and reposition the window. With another shift-hold and pressing Play, you can then track the window throughout the clip. This is a great shortcut for people who work a lot with Windows and will save you a huge amount of time. So far an operation like this was only available on the Mini Panel, which costs around $2,100. 

Overall impressions and conclusion

While feeling a little bit cheaper than the older model due to the materials used and the lighter buttons, the new Micro Color Panel nevertheless delivers a lot more functions than its predecessor. The new layout of the dials and buttons might take some getting used to for users of the older model, but the additional features make it easy to justify the effort. If you are using DaVinci Resolve on the iPad Pro for color grading, this device is pretty much a no-brainer, but it also looks and feels good in a desktop setup – freeing up more desk space due to its smaller form factor.

Whether it is a good purchase depends on your use of DaVinci Resolve since all the functions it offers can also be done using the mouse and keyboard. If you do a lot of color grading, this device – especially with the newly introduced functions of the shift buttons – will speed up your workflow and allow for finer control of functions like exposure or color balance adjustments. 

Price and availability

The Blackmagic Micro Color Panel is available now and will set you back $509 – which is $350 less than its predecessor, but does not include a DaVinci Resolve license.

What do you think about this new panel? Are the new functions useful to you? Will you make the purchase? Let us know in the comments below!

LENSGO is a Chinese company specializing in audio accessories, teleprompters, and smoke machines. Their Smoke B and Smoke S fog machines were released a few months ago and now they are planning on releasing the younger sibling, the Smoke S Mini. It is a smaller and even more portable option, made for those who are looking for a hassle-free, easy-to-use, and extremely small smoke machine. It shares almost the same functionalities as the bigger models but with less wattage and capacity, making it perfect for small shoots.

Both simple and varied

Filmmakers have used smoke, haze, and fog since the advent of making films, and not only for effects in horror films, music videos, or advertising. In many of the movies you watch, they are also used to add haze to create volume and shape in the scenes and reduce contrast while enhancing the lighting.

The LENSGO Smoke Mini S comes in a pouch with the central unit and accessories to shape the smoke in different ways. It also has a liquid refill bottle, a remote control, and a USB cable. The pouch size is small enough to put in your backpack if you are traveling with a single bag only. In today’s era of solo photographers, filmmakers, and content creators, this unit is a perfect fit for their needs.

The Smoke S Mini has 15W and a battery of 1000 mAh that, according to my tests, lasts for about 15 minutes when used continuously. When the battery is out, a red light will appear and the unit will turn off. In real filming situations, you will most probably be using it in short bursts, so potentially, the battery will hold for more than a shooting day. I could fill an average room with a decent amount of smoke within one or two minutes of fog release. However, keep in mind that the Smoke S Mini is not suitable for large venues, considering its limited capacity in comparison to the time and effort required to fill a sizable room with smoke.

The unit can be charged with a USB cable. LENSGO specifies two hours of charging time, which is more or less what it took me after fully emptying it. Refilling the tank is also quick and easy. To do so, unscrew the cover and open the little orange rubber seal. After refilling the liquid, close the seal, attach the tank to the main unit, and put the cap back for protection since the tank gets hot when releasing the smoke. I found the refilling process pretty straightforward, just like the overall functionality of the unit.

When I first saw the amount of liquid included, I was very careful not to waste it, but after one shooting day, the tank still had about 3/4 of the liquid left. I doubt you’ll run out of fluid anytime soon for your intended purpose, however, if you do, you can easily purchase more on platforms like Amazon, for example.

Real use scenario

The LENSGO Smoke S Mini worked pretty well and was easy to use in all the tests I ran. The unit only has two buttons, one for turning the machine on and off and another one for releasing the smoke (pressing twice), and stopping it (pressing once). LENSGO categorizes the included accessories in modes like ‘Portrait’, ‘Dry Ice’, and ‘Incense Burning’, so you get the idea of the different effects you can create. I used it for video and photography with different modes.

The first thing that caught my attention was how valuable the accessories are in shaping the smoke and getting different effects, as they are not only gimmicks but really helpful tools to create different smoke shapes. That said, the smoke effects take place in the first seconds of release, with a defined shape and density. After 15-20 seconds, the smoke blends and spreads evenly, like ambient haze. That will give you the best of both worlds: the smoke for precise and stylized effects and the atmosphere to create volume and separation.

The liquid, as advertised, has no smell, and it did not affect my eyes or my breathing. However, like with any smoke machine, it is advisable to ventilate the area after using the product.

The only thing I didn’t like about it was that some liquid leaks, especially if you release the smoke directly from the tank without any of the accessories. After using it for some time, I noticed liquid drops inside the pipes. However, this does not affect the unit’s functioning. I just cleaned the liquid before putting the unit away after I was finished.

The remote control is another helpful add-on for when solo shooters are doing all sorts of jobs on set. With a simple press of the button, you can release the smoke and film at the same time or even be in the shot if wanted. That also keeps you from wasting liquid since you won’t have to run to the camera and waste those seconds of smoke.

Conclusion

I liked this Smoke S Mini for my everyday use. It is small, portable, simple to use, gives lots of shaping options, and has enough capacity for a full shooting day. I see myself using it in food and product photography and videos, portraits, small documentaries to give the locations a film touch, and stock footage where the short length of the shots fits the output of the Smoke S Mini. The fact that you don’t need electric power to make it function is a blessing for my shooting style.

On the other hand, the features that make this unit shine are also where its limitations are. For bigger shots and locations or extended shootings, such as narrative scenes with dialogue and where one undoubtedly spends hours on a lot more takes, I would prefer a bigger unit, like the LENSGO Smoke B or even a bigger smoke generator unit. Also, the USB input is at the bottom of the unit instead of on the side, meaning that it can’t be charged standing in a vertical position. Other than that, this small Smoke S Mini offered more than I expected!

Pricing

LENSGO will sell the Smoke S Mini for $99, but during the campaign, they are offering the current specials:

Perk A: 300 units for $69, 500 units for $74, Limited exclusive early bird price $79

Perk B: Two units for $139

There are many other perks available on the crowdfunding campaign page, so please head there for additional information.

The LENSGO Smoke S Mini is now being featured on Indiegogo. As always, please take into account that backing a crowdfunding campaign has its risks. We encourage you to research and remember that there is a chance for delays and changes in the final models, and some products are never delivered. Please read Indiegogo’s terms and conditions carefully before backing a project. However, LENSGO is an established and trustworthy company in our industry.

For full disclosure: CineD receives a percentage of the revenue (affiliate share) made from backing up this project on Indiegogo.

What do you think about the LENSGO Smoke S Mini? Would you include it in your equipment for small shootings? Let us know in the comments below!

Disclaimer: Let me first say that I am not an iFootage Ambassador. However, the company sent us the product free of charge to review it. This review is my unbiased opinion, as iFootage did not modify, influence, or give input about the article before its publication.

A roller bag love/hate relationship

If you’ve been following us for the past few years and have read some of my articles, you should know by now that I’m slightly obsessed with bags in general, especially when it comes to carrying my filmmaking equipment. In case you missed it and want to get a sense of my fixation on bags, you can read my previous reviews on the PGYTECH OneMo backpack and the Manfrotto PRO Light Flexloader L – which I still consider one of the best all-around filmmaking backpacks to this day.

As someone who has used a wide variety of flight cases, handbags, backpacks, roller cases, and roller bags, my relationship with the latter has evolved over time. Indeed, when I was in my 20s, carrying heavy equipment on my back or shoulders for 10 to 12 hours was not an issue. I could move back and forth and choose rolling cases/bags depending on my mood and project. Now that I’m in my 30s, I can tell you that all my heavy camera kit lives in a – unfortunately, now discontinued – Manfrotto Roller Bag-70. Nonetheless, in my opinion, it remains one of the finest large roller bags available for local or national shoots that don’t involve air travel or the need to check my bag.

As I now mainly shoot as a one-man-band filmmaker, my quest these past couple of years has been to create an efficient shooting kit with everything needed for 90% of my most common shooting scenarios and talking heads: two cameras, lenses, two camera tripods, some LED lights, light stands, and so on. I aim to carry everything independently and make my life/day on set as smooth, efficient, and easy as possible. Indeed, I hate wasting time making multiple trips from my car to the shooting location and the other way around. Currently, I use one rolling bag for my camera kit and one backpack for everything else, i.e. lighting/accessories. While this setup works for me, there are still many times when I thought to myself “Two roller bags would have been nice and maybe easier to move throughout the day.”

With the introduction of their first lineup of bags in September 2023, iFootage has launched a seamless lineup, featuring two backpacks—the Beava Backpack 35 and Backpack 50—alongside a single roller bag. So, will the beginning of iFootage’s journey in the camera bag industry be as successful and prolific as its camera accessories and LED lights? Let’s find out!

iFootage Beava Roller 35 specifications

The iFootage Beava Roller 35 is a reasonably large bag that officially measures 61 x 36 x 35cm/24 x 14.1 x 13.7in (length x height x width) for an empty weight of 3.85kg/8.48 lbs. Based on my measurements, the external dimensions are a tad smaller than what iFootage claims. While the length is 61cm/24in, the height measures 36cm/14.1in when the bag is open, reducing to approximately 30cm/11.8in when closed, and the width is 32cm/12.6in.

As usual with camera bags, the internal dimensions are slightly smaller at around 46 x 23 x 26cm/10.2 x 5.9 x 18.5in from my measurements.

iFootage is not very specific about how much gear you can store in the Beava Roller 35, but according to the promotional pictures, the bag can take up to two mirrorless cameras with lenses attached, an extra telephoto zoom lens, and a small LED light with its ballast. Of course, it all depends on how you set up the eight included dividers. Furthermore, the Beava Roller 35 has an interesting two-stage design that allows you to put more small gear on top of the main compartment, but we’ll talk about that in detail later.

Design

The exterior and interior design of the Beava Roller 35 is austere; the outside of the bag is entirely black, and the company played on the different materials to give it some depth. The zippers have a light touch of red on them.

On the front pouch, you’ll also find the iFootage logo in red. Last but not least, the wheel safety covers are also bright red, but since these are made of shiny plastic, they don’t look very “high-end” to me, but it’s personal taste.

To summarize the design, the Beava Roller 35 doesn’t stand out much in a crowd, which is a good thing for any bag that you plan to use for carrying any kind of camera equipment.

Build quality

The outside of the bag is made of waterproof nylon. This kind of ripstop nylon fabric is used to make military clothes, and all the bags I have had over the years that used this material still hold firm. In short, I have almost no doubt that this bag should both age and survive life on a film set well.

Please note (and this is not specific to the iFootage bag), but bags made out of waterproof nylon easily attract dust and marks, and it’s no different for the Beava Roller 35. Even if I’m kind to my gear, I often shoot in dirty environments – i.e., industrial factories, cities, and streets – so my bags get sludgy reasonably quickly. When you’re back at home/office, a wipe with a wet sponge or microfiber cloth cleans the bag quickly and easily, but it is worth mentioning.

iFootage looks confident with their choice of the bag’s design and fabric, as the bag doesn’t have a removable rain cover. I did not stress-test the water resistance, but I had no issues under light rain and on wet ground. Like every bag and case, I would still be cautious under heavy rain conditions.

The bag’s flat bottom is made of a different rugged/reinforced waterproof material that looks very resistant. You’ll also find two round “feet” at the base so the bag is not in direct contact with the ground. Next to the wheels, the other bottom corners are reinforced for extra protection.

The iFootage Beava Roller 35 is built around an internal metal frame for the main compartment, which makes it a very rigid bag.

Some parts, such as the side handle and the wheels, are secured to the internal metal frame via large Philips screws, which feels reassuring.

However, out of the box, I was not overly impressed with the build quality of the Beava Roller 35. Don’t get me wrong, the quality of the fabrics employed look and feel great. However, the devil is in the details, and some parts, such as the retractable T-shaped handle, the magnetic handles, the wheels, and the zippers, did not impress me for a bag in this price category.

Zippers and shoulder strap

When I opened the main compartment, I instantly thought that the waterproof zippers – even if they are made by YKK (the zipper industry leader) – felt a bit stiff.

Also, on both ends of the main compartment zippers, the upper and lower zipper stops, and the bottom and top tape extensions are not sewn to the bag but just hang loose. This design was done on purpose so you can fully open and unfold the main compartment (more on that later), but it lacks rigidity when you reach the ends of the main compartment zippers. Furthermore, you cannot open it with one hand.

During my time with the bag, I stressed the zippers on purpose and did not have any issues, but they don’t “feel” perfect or as smooth as I would have liked.

Next, the bag comes with a removable shoulder strap that attaches to two plastic hooks sewn on the top of the main compartment. It means that when you open the main compartment, the shoulder strap attachment hooks open with the bag.

This is not an ideal placement, as this top lid is not the sturdiest part of the Beava Roller 35, and they change location when you open it. I would have preferred to have the shoulder strap attachment points located elsewhere – for example, on the left/right side of the bag.

The shoulder strap itself is well padded, and it is easy to adjust – no complaints there.

Handles and front pocket

To grab the bag, there are two handles: one on the left side (or top if the bag is sitting vertically), which is sewn/screwed, and two collapsible magnetic handles on the top. The left side handle, as mentioned before, feels robust and can take some weight. I felt that another handle was missing on the right side, below the wheels, which would be handy when grabbing the bag from both sides.

For the collapsible magnetic handles, it’s a different story. Despite their solid feel and smooth sliding action, the intention is for the two handles to connect when pulled out via built-in magnets in the handles. I loved the concept from the iFootage promotional video.

However, I can’t find another way to explain it other than to say that the magnets are not strong enough. When you join the two handles together, they barely hold. To give you an idea, a slight touch with one finger is sufficient for the magnets to disengage and the handles to open.

T-Shaped carrying handle

Like every roller bag, the iFootage Beava Roller 35 has a built-in carrying handle. Instead of going with a one-tube design like some Think Tank or Lowepro roller bags, iFootage went with a two-tube design, which is usually more rigid and sturdy. However, while most competitors space the two tubes of their handles quite a bit, iFootage took a different direction and went with reasonably close ones.

Press the button on the handle, and you can fully extend the T-shaped tubes.

When fully extended, the carrying handle is held in place with only one locking pin, which feels light to me. In addition, the carrying handle wobbles a lot and inspires little confidence regarding its long-term life. While the mechanism of the two tubes is metal/aluminum, the handle’s top is plastic. Also, the two metal tubes have some flex to them, and I would worry that if they took a fall or a hit, they could bend easily, meaning the folding system might not work as expected anymore.

Wheels

At the bottom of the bag, you’ll find two rollerblade-like wheels with an outside diameter of 85mm from my measurement, while iFootage claims a diameter of 80mm. According to iFootage, these “large rubber premium wheels absorb shock while eliminating sound to create a smoother travel experience and additionally decreases the rev speed which will produce less noise while in use.” I agree, the wheels are silent and pretty smooth from sidewalks which are smooth and easy for a rolling case, to cross/offroad terrains. With decades of skateboarding behind me, I would rate and compare the hardness of the iFootage wheels at around 100A, just a bit softer than Pelican case wheels. In contrast, I usually prefer softer 80A/85A wheels for camera equipment. Let me know in the comments if you get what I mean regarding the reference to the wheel’s hardness!

If you need to replace one of the wheels, it is doable by the end user. You’ll have to remove the bag’s internals, some screws, and the entire wheel assembly.

Pockets and compartments

The iFootage Beava Roller 35 is a simple bag and doesn’t have a plethora of pockets, which is handy if you want to keep things simple. Indeed, the roller bag only has one exterior pocket with two compartments at the front and a trolley sleeve at the back.

The trolley sleeve has a width of 23cm/9.05in and a velcro strip, which allows you to strap it to another trolley without having to make the entire bag slide through the handle.

The front pocket has a width of around 34cm/13.38in at its narrowest point. At the front of the front pocket, there is a little compartment that is a bit smaller with an opening of 30cm/11.8in and a height of 23cm/9.05in. There is nothing fancy about that little front compartment: no dividers or pockets inside, but it’s handy to throw cables or items you need to grab quickly.

Inside the front pocket, you’ll find two large meshed dividers and five small net ones to store pens, compact batteries, and small accessories. Lastly, there is a built-in detachable key ring.

If we want to be a bit picky, the Beava Roller 35 doesn’t have a laptop pocket/compartment, but I wouldn’t carry my laptop in a roller bag, so it did not bother me. Also, this roller bag has no tripod or light stand attachment points. I like to carry my tripod or light stands strapped to my roller bag: it gives me a free hand, saves my shoulders, and I can move everything at once.

Interior design

The Beava Roller 35 is built around a rigid metal frame that helps keep the bag in shape. Now, let’s move to the bag’s interior by opening the long waterproof zipper. Once you open the zipper, you’ll have to fully open the two sides, which are also part of the metal frame, revealing a large opening of around 18.5cm/7.28in. The opening mechanism feels very sturdy and reassuring; it’s a pleasure to open and close it. The inside of the bag has two layers: a top and a bottom/main compartment.

The top compartment is basically one giant removable divider velcroed to the inner liner of the bag. This top compartment has a maximum height of around 10cm/3.93in. Also, there is no way to put any divider on that top section.

However, the bottom layer has built-in velcro that can be used to strap/secure some gear and prevent them from moving around. You can use this top compartment to carry a gimbal, an LED lighting ballast, or small accessories you want to keep at your disposal.

As I mentioned, you can remove the top layer if you don’t need it and want to maximize the bottom/main compartment’s size.

When you flip open the top compartment, you easily access the bottom compartment, which measures around 49 x 24 x 14cm/19.3 x 9.4 x 5.5in. This compartment is where you’ll store your camera, lights, lenses, and all the critical pieces of gear.

Dividers

For the main compartment, the Beava Roller 35 comes with two full-length dividers, three medium dividers with a width of 9.5cm/3.74in, and three small dividers that are 7cm/2.75in wide.

The dividers have a thickness of around 0.7cm/0.27in and are pretty rigid. There is a stripe pattern on the dividers where the firm padding is. These thin dividers only take up a little space inside the bag, giving you more room to store camera equipment.

Once velcroed to the inner liner or full-length dividers, the dividers stay in place and don’t come loose. 

The full-length dividers have two small sections on each side that can be flipped. However, you can’t use one full-length divider as a full-width divider by flipping these two peripheral shorter sides. 

After using the iFootage Beava Roller 35, I found that I ended up not using the second full-length divider. It’s nice that the company includes two, and you might have a use for it, but considering the type of large gear I carried, I seldom used it. So, how much gear can you put inside the iFootage Beava Roller 35?

iFootage Beava Roller 35 – carrying capacity

One of the main reasons to choose one bag over another, except for its design and features, is how much gear you can throw in it. The iFootage Beava Roller 35 was primarily designed as an all-arounder to carry an entire camera kit, including one or two cameras, lenses, but also LED lights, a gimbal, and multiple miscellaneous pieces of equipment.

I would consider the Beava Roller 35 more suited for mirrorless or small cinema cameras. Indeed, the relatively “small” 14cm/5.5in height of the main compartment limits the amount of gear you can put inside if you don’t want to sacrifice storage space by removing the top compartment. The Canon EOS C70 is one of the tallest cameras that can fit. No problem either holding a RED KOMODO/V-RAPTOR or a Sony FX3/FX6, for example. However, don’t expect to store a Sony FX9, a RED DSMC2, a Canon EOS C300 Mark III/C500 Mark II, or a fully-rigged camera. The same height limitation applies to lenses, which are often too long to be stored vertically. This means you’ll need to store/carry lenses horizontally, which wastes space.

I tried multiple interior layouts, and here is what I was able to carry at best:

• One Aputure 200D LED light with the power supply and cables.
• A Canon EOS C70.
• One Canon RF24-70 F/2.8 L IS zoom lens.
• One Canon RF70-200 F/2.8 L IS zoom lens.
• Camera batteries and memory cards.

The top compartment could fit a DJI RS 3 Pro gimbal fully assembled easily.

While this is pretty decent, one main downside is that I felt I was wasting space and that the main compartment’s interior needed to be more versatile for my needs. Indeed, to get that layout to work, I had to combine multiple dividers to get to the reorganized width of the bag. I think it all comes down to simply having more dividers included or available to purchase separately to truly optimize what you can fit inside the Beava Roller 35. 

To give you an idea, my Manfrotto Roller Bag-70 – which is just a little bit bigger than the iFootage Beava Roller 35 – can carry twice as much camera equipment due to a more optimized divider layout, even if it doesn’t have two compartments. However, the Manfrotto roller is less suited to carry LED lights and gimbals. You can’t have your cake and eat it too…

Finally, I would say that for photography equipment, which is usually smaller than video gear, the original divider layout of the Beava Roller 35 could be okay.

Final thoughts

To summarize this review, after spending a couple of months with the Beava Roller 35:

• The bag’s design has many good ideas: removable shoulder straps, full-width openings like doctor’s bags, two compartments, large and replaceable wheels, etc.
• It has a pleasant overall build quality, but many details could be improved, such as the T-shaped carrying handle that wobbles, the feeling of the zippers, and the magnetic carrying handle that doesn’t stay in place.
• There is some room for improvement regarding the dividers’ layout, the number of included dividers, and their versatility.

For their first series of bags, iFootage did a good job with the Beava Roller 35. It ticks many boxes, but it clearly has some room for improvement: adding a handle at the bottom of the bag, and a way to securely close the bag with a TSA lock would be a great addition; fix the retractable handles’ magnets that are not strong enough, reinforce/change the design of the T-handle, as well as adding more pockets to carry equipment or handy accessories, to list a few. 

And now, for the important final question: is this bag for you, and should you get it? Firstly, if you’re a filmmaker, it will depend on what camera you use. As you can tell from my review, there are many points to consider, but as this is iFootage’s first attempt at creating a bag, I’d say they did fairly well. 

Personally, I would have loved to see a more robust solution and greater attention to detail, but all in all, it mainly depends on the type of equipment you carry around with you. I have no doubt that iFootage will do its best to improve this product in the future.

As usual, when buying new equipment, I highly recommend doing so at a place that offers refunds in case the bag doesn’t suit your production needs.

Price and availability

The iFootage Beava Roller 35 is available now for $319. As a direct comparison, the Shimoda Designs DV Roller retails for $339.95, the Think Tank Photo Airport Advantage XT is $349.75, and the Tenba Transport Air Wheeled Case Attache 2214W is $224.95.

For more information, please visit iFootage’s website.

What do you think about this roller bag? Do you often use roller bags to carry your camera equipment? What is your go-to bag? Would you like us to review more camera bags? Don’t hesitate to let us know in the comments below!